Steven Gonzales
Forum Replies Created
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RS 422 is a serial communications protocol.
Perhaps you mean ProRes 422 codec?
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Good luck finding parts. Here’s a manual for sale:
https://www.texsales.com/proddetail.php?prod=OM1300
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I believe you can select all the stills, put them in the timeline, then select all, control-click for the contextual menu, then set duration to the appropriate length, and they will all reset to the new duration.
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Video shot and played back at the same frame rate runs the same time as the original.
When film is shot at 24 fps, and transferred to video, it is slowed down by .1% so that it can evenly fit video at 29.97 or 23.98. So the film is played on the telecine machine at 23.976 frames per second, (slowed down by 1 part in 1000) when transferred to video.
When put in an edit system to be synced with dual system (separate) sound, there are two choices:
1) keep the film_telecined_to_video at 29.97 or 23.98, and slow the sound down by the same .1%. A couple ways that sound is slowed down: when recorded, the recorder’s internal clock is used — but on playback a video signal is used as the clock. Another way: the sound is recorded at 48,048 samples per second, but played back out at 48,000. Timecode is included as an addressing mechanism, but sometimes timecode settings affect sample rate. Sample rate and clock are what determines how fast audio goes by.
Or 2) you can speed the film_telecined_to_video back up, by playing at 24 fps, and just bring the sound in at it’s original sample rate with its original clock.
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Please excuse the infraction.
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There was another post a while ago, that suggested the settings of the project when you bring in sound has an effect on the timing. I don’t know if it’s true, but here’s the link:
https://forums.creativecow.net/readpost/8/1006953
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What about putting the applications in the dock? That’s about as easy to find as there is.
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The quicktime clips you are editing in the timeline need to be connected to the database records in Cinema Tools.
When you go to make a film list, Final Cut says “this is the portion of this particular quicktime file that was used” to which Cinema Tools says “Oh, I’m connected to that same Quicktime file, so I can calculate based on the frames you used what the keycodes are”.
So if you’re editing with the 23.98 versions of the clips, those are the one you would connect to Cinema Tools. Thus you would do it after reverse telecine.
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Not to rub salt in a wound, but you would be in just as much trouble if your hard drive had failed, a very likely scenario. Every hard drive will fail, it’s just a matter of when it happens.
For future happiness, it’s good to backup media drives once capturing is done. The cost of drives pales against the cost of time.
If you’re almost done, of course, you could just recapture your sequence, and save some time that way.
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From my understanding, both VITC and LTC make sense on tape. LTC was written as an audio signal on a linear track, so it could only be read when the tape is moving. The advantage was, if would go up in frequency when the tape was fast forwarded/rewound, so it could still be read.
The VITC was written in the vertical blanking interval in a helical scan by a video head. Thus when the tape was paused, the read heads would continue to read that frame, and the timecode could be decoded. The disadvantage was that VITC could not be read in fast forward/rewind, because the vertical blanking was not being read.
Because of this, I don’t understand adding VITC to a quicktime. Couldn’t the VITC be added when the quicktime is put to tape?