[Steven Gonzales]

Does your video have burn-in timecode from the telecine? The first step would be to check if the burn in timecode for your source clips matches the timecode which Final Cut has recorded for the clips.

How are you finishing the film? Are you going to cut the negative, or are you finishing on video? I would assume since you are editing at 24 frames that you might be cutting negative.

If you are, and if you use cutlists from Cinema Tools, you don’t actually need the correct timecode in Final Cut. As long as the Cinema Tools database matches the timecode and keycode burn in, and all the quicktimes are linked properly, you can get an accurate cutlist despite Final Cut’s timecode.

However, and EDl will give you the clip’s information as know within Final Cut, so you’ll have to track down the discrepancy.

Perhaps during the Beta to DV dub the timecode was not correct.

[Steven Gonzales]

The manufacturer should list this in the tech info. If not, you can call the company.

Also, any decent review will take the thing apart and tell you whose bridge card, or at least which chip set inhabits the bridge card.

What you are buying is a hard drive, a power supply, a bridge card, and an enclosure. The quality of each of these adds up to the reliability of the drive.

[Steven Gonzales]

I think an important consideration is the chip set in the bridge card. I’ve always stuck with the Oxford bridge card equipped units, and never had problems.

I’m also overly cautious, so I handle the firewire drives very gingerly, and I like to power them down before connecting or disconnecting.

I’ve had good luck with Wiebetech products. http://www.wiebetech.com

[Steven Gonzales]

The most common way for sound on dat to be slowed down is to record with a 30fps clock (usually the Dat’s internal clock is used), and then when the audio is put to video, a video sync is used as a clock to the playback dat player, and this results in slowing down the dat by 1/10th of 1 percent.

Another way Dat is slowed down is by sample rate. The Dat is recorded at 48,048 samples per second. When it is synced to video, it is played back at 48,000 samples per second, thus slowing it down.

Another option is to edit at 24 fps in the edit machine, and match the sound sync there, and then no adjustment is needed in sound speed, as the film (which was slowed down when put to video), is sped back up when converted to 24fps, and now matches the original sound speed.

However, if you bring the film in to your edit system at 23.976 fps, you would have to also adjust the production audio to match, by slowing it down by 1/10th of 1 percent.

People often confuse the clock source with the address source (timecode). Timecode does not determine the recording rate or the playback rate. Those rates are a function of the clock source and the sample rate.

A final option is conforming the audio to another sample rate through software. If you record at 48,000 samples per second, and tell this file to playback at 47952 samples per second, it will take longer to complete the samples (in other words, slowed down) by 1/10 of 1 percent.

[Steven Gonzales]

I’ve worked with serial a bit for some scientists who want to talk to various devices. The problem is often the cable not being correct for the devices involved.

The Keyspan device has the following pin assignments according to the tech documentation:
male DB9
12 3 45
6789

1, DCD, Data carrier detect
2, RX, receive data
3, TX, transmit data
4, DTR, data terminal ready
5, GND, Ground
6, DSR, Data Set Ready
7, RTS, Request to send
8, CTS, clear to send
9, RI, ring indicator

According to one reference I found, the UVW-1400 is

1, GND, ground
2, txd, transmit data
3, rxd, receive data
4, rts, ready to send
5, cts, clear to send
6, dsr, data set ready
7, gnd, ground
8-19 not used
20, DTR, data terminal ready
21-25 not used

So at the most basic, a cable that takes 2 to 2, 3 to 3, and 5 of the 9 pin to 7 of the 25 pin might work, if no hardware handshaking is going on.

Check this with a multi-meter, and you’ll know if you have a chance with the cable setup you have.

I would try Pipeline Digital or Addeda Electronics to get a cable that works if you can’t get yours going. It seems that you are doing RS232 9 pin to RS232 25 pin communication.

https://www.pipelinedigital.com/
https://www.addenda-elect.com/product.htm

[Steven Gonzales]

Here’s an Apple doc about journaling if you want to read further:

https://docs.info.apple.com/article.html?artnum=107249

Here’s the relevant part for video users:

“If your server contains high-bandwidth usage data files, such as large video, graphics, or audio files, you may want to weigh the benefits of using journaling against the performance needed to access your data.”

[Steven Gonzales]

Read this article by Graeme Nattress:

https://www.kenstone.net/fcp_homepage/24p_in_FCP_nattress.html

[Steven Gonzales]

I think it used the same software that the movie Waking Life used, which is Rotoshop developed by Bob Sabiston.

Here’s a link where Mr. Sabiston writes about it:

https://www.g4tv.com/techtvvault/features/23423/Rotoshop_Animation.html

[Steven Gonzales]

You should probably send a Final Cut project file, rather than an EDL.

However, when going through email, information is often lost on an attachment, and it may not be recognized as a final cut pro project when it arrives.

To avoid this, I would compress the project. To do this, select the project from the operating system, and control click. Then choose “create archive”. This will create a compressed file. At the receiving end, the file will uncompress, and the other editor will have the complete project file.

Finally, once the media is relinked, everything should work fine.

[Steven Gonzales]

Since you don’t have a dishwasher, do you have a pressure washer? If not, just duct tape the keyboard to the roof of your car and go through a car wash.

Then when you buy your new keyboard you can use these ideas:

https://www.pcworld.com/howto/article/0,aid,112041,00.asp