Steve Braker
Forum Replies Created
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> What are you editing DV?
Combination of 8-bit uncompressed and DV sources in uncompressed 8-bit sequence. All SD.
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> MIrroring for video content does seem like an odd idea.
To each their own. For me, I want to be up and running absolutely ASAP after any drive failure. Without worrying about time code messups, tape problems, etc. I consider tape to be a secondary backup.
RAID 1 gives me a lot of peace of mind for very little outlay of money and energy. Having done it this way I wouldn’t go back unless a project required enormous amounts of space (like perhaps an upcoming project with 330 hours of source).
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I think David was referring to the use of TOD _as_ the SMPTE code. This is a common approach to certain kinds of multi camera shoots, but can get you into all sorts of trouble in FCP if you are starting ands stopping tape. Which is the whole point of using TOD in the first place…
A great solution to this in the old days was to run TOD in the user bits instead of as the TC itself. Then you use that to line up shots while keeping unique code as the main code. Unfortunately FCP appears to have no support for user bits.
To the best of my knowledge, FCP also doesn’t support reading any “TOD” recorded in metadata. Nor CC, nor any other shoot time data…
Anyway, Walter has this covered, but be aware that you are likely to lose precious bits if you didn’t roll enough tape on each fresh shot.
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Those are great points, Jerry.
Allow me to demonstrate my ignorance:
If playback decompression is happening on the outboard Io, what happens to all that RT playback processing? Doesn’t it all get decompressed in the Mac, tweaked and mushed together, then recompressed to go out to the Io, then decompressed again for the display?
Or do we think FCP knows how to do all this natively in ProRes?
I admit I have no idea how this all works with e.g. an all-DV system.
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I don’t think I made the question clear enough. By acquisition I mean field recording – you know, camcorders and all that. In an age of moving into tapeless acquisition, doesn’t ProRes look like a really fine format for hard drive or solid state recording in the field?
Of course we’ll be able to do it with a “laptop acquisition assistant” following us around, but I’m talking true portable production. Any guesses as to whether this is likely to happen?
I suppose it has more to do with business/politics than whether it’s a good idea.
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There’s no such thing as VITC in any of the DV25 formats. It can be captured and passed in formats using 486 lines (NTSC), but not in DV/DVCPro/DVCam which only capture the actual image.
Your service provider should know this.
They are either using a very cheap deck or camcorder for the transfer, or they failed to set the deck up to “record” timecode. They would also have had to select whether to record from VITC aor LTC inputs – which aren’t always the same code. And they would have had to hook up a cable for LTC.
I agree with others that, if you have any choice, putting Beta (SP, I hope) through DV compression is a sad thing to do. Consider moving to DV50, or getting a converter and capturing uncompressed.
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Thanks, Sales. I’ll assume hardware encoding is a lighter load on the system, but it’s good to know it’s usable both ways.
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Thanks. I guess it’s clearly not encoded by the Io. I’ll assume then that it’s sending uncompressed to the Mac which converts to ProRes. Perhaps “AJA Sales Department” can confirm this?
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And if you need external scopes, putting old fashioned scopes on an SD downconvert gives you all the information most people want to know. A lot more resolution than you’ll get in current FCP scopes anyway.
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I’m sorry, I can’t answer that definitively. But non-drop has become the standard for pretty much everything in the 29.97 world, so I would be surprised if you found somebody _wanting_ drop code for anything HD that is 29.97. But you really need to find out through your own distribution chain.