Stephan Walfridsson
Forum Replies Created
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I have used Avid since the late 90’s and FCP since 2005, editing commercials, music videos and feature films, and to me it doesn’t really matter what system I’m on. Sure there are things that I prefer in FCP and other things where I prefer the Avid’s way of functioning. But I know the systems well enough to adjust my workflow so that I use the software as effectively as possible. If I edit a commercial on Avid I have a slightly different workflow than if I do it in FCP. Do I prefer one workflow to the other? No, not really. The differences are so small that the pro’s and con’s of each system balances out.
Stephan
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You’re not really gaining anything by caturing component instead of directly over firewire. Over firewire you are getting the actual (digital) 1 and 0’s that are recorded on tape. When you use component the information is converted to analog voltage which is affected by quality of cables etc.
Also DV is 4:1:1 compression (assuming NTSC) which means that you only have half the vertical resolution in the chroma channels so the deck needs to interpolate the chroma information for the missing rows while performing the digital to analog conversion. I am sure that the deck does a great job with the interpolation, but it may look slightly different from the way the computer would do it.
Stephan
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Are you capturing as full HD ProRes? (Or ProRes HQ?) My guess would be that there is a problem with your raid disk. That it simply can’t handle the data throughput. Is there anything else connected on the firewire bus? How full is your raid? What raid configuration? Have you tried with another disk?
Stephan
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Are you seeing the jagged edges on an external monitor or only in the canvas viewer?
[Andreas Eidhagen] ” when we capture the footage it’s in field dominance Upper (odd) and when we drop it in a timeline that’s set to field dominance none it de-interlaces the footage. “
So if you change the field dominance setting to ‘none’ for the source footage in the fcp browser, does that solve your problem?
[Andreas Eidhagen] “We are working with PAL 25fps both and HD 25 fps.”
Do you mean the you have both HD and SD on the same timeline? What is your sequence set to SD or HD? Is the problem occuring on SD or HD footage or both?Stephan
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Try using ‘Batch Export’ from FCP instead of ‘Using Quicktime Conversion’
Stephan
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[Teng Hui Lee] “The images only appear on either the second Cinema HD display(when i put the FCP video play back on Digital Cinema Display-Full Screen) or the TV output (when it is on Blackmagic 8 or 10 bit). “
Yes, Final Cut will only output to either Digital Cinema Display or the TV output, not both at the same time. FCP only supports one ouput at the time. This is not a bug or a problem wiht the decklink card. It is just the way Final Cut works. You can put the canvas window on the second screen and enlarge it to get some kind of “big screen” playback.
Regarding the second issue, you have to enable video desktop in the decklink control panel. (But it won’t solve your first problem…)Stephan
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Yes, sounds like EX-1 (or EX-3). Just download the XDCAM transfer software from this link:
https://servicesplus.us.sony.biz/sony-software-model-PDZKP1.aspx
After installing you should find the option File->Import ->Sony XDCAM… Using this plugin rather than Log & Transfer you will be able to import the files.
Stephan
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[Rafael Amador] “The “wide x high” of your web movie must ALWAYS keep the 16×9, so feasible sizes are for example:
– 160 x 90
– 320 x 180
– 400 x 270
– 480 x 360
-…. “I think you mean 480 x 270 and 640 x 360… 😉
Stephan
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[Tom Galli] “I’ve spent a fair bit of time in the multiclip section of the manual, and in experimenting with multiclips. I’m pretty convinced that it isn’t going to happen. It’s fairly easy to get the first tape-worth’s of all 3 converted into a synced multiclip, but nigh-unto impossible to add staggered clips onto the various angles thereafter. “
One thing I have done on some occasions is to sync them on the timeline and then export each track as a separate qt. Then reimport these to use in my multiclip. That way you don’t need more than three angles in your multiclip, rather than a new angle for each tape.
[Tom Galli] “I don’t suppose you’d care to mention how to get those extra viewer windows? I suppose I was remiss in not asking that specifically in my initial post. “
Spawning a new viewer is simply done by selecting the clip and pressing shift-return. How to gang different tracks to different viewers I do not know.
Stephan
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Also, your hand/arm would constantly be covering part of your screen, which to me would be very annoying as you’d have tp move your arm out of the way all the time.
Stephan