[Tim Ward]

This doesn’t involve FCP per se, but another way uses After Effects and Illustrator CS2 and up. It involves creating a sequence of stills, using Live Trace in Illustrator to create the vector images, then rebuilding the sequence in AE (or FCP).

The Cow’s Aharon Rabinowitz has a 2-part video podcast on the process:

Part 1
Part 2

tim

[Tim Ward]

Getting back to Eli’s question…720×540 is the lowest common denominator for 4:3 SD video.

For example, if you design in 720×486, and the software/hardware only supports square pixels, the image will end up with black bars on the top and bottom, unless you stretch it vertically. But that reduces resolution. If you design 640×480(6), it’ll be the right dimensions, but have a black border around it and will need to be resized. With 720×540, you have enough resolution for any SD situation.

As far as DVD SP, common practice has been 720×540, as well as being stated in the DVD SP4 manual. That’s how I had to create menu graphics in PS CS2 (with presets) to look right in DVD SP. Granted, DVD SP may support non-square PARs, but I had a problem with it. Maybe it’s worth a revisit.

FYI: Pinnacle Thunder is a still store/clip server used in live/live-to-tape broadcast production. The video with key functionality is very nice.

tim

[Tim Ward]

There are software and hardware out there that do not natively handle non-square PARs, hence the 720×540 square-pixel designs. Examples would be Apple DVD Studio Pro and Pinnacle Thunder.

tim

[Tim Ward]

Here are a couple of links, but there is so much information out there, feel free to Google away.

tim

[Tim Ward]

I tend to normalize as one of the last steps, usually right after dynamics processing. I approach similarly to how I mix live: VOCAL MIC => CHANNEL-STRIP PRE-AMP => COMPRESSOR ON INSERT => ADJUST FADER LEVEL

tim

[Tim Ward]

Another important thing to consider is that you should make sure you’re covered with copyright licenses. The venue probably pays ASCAP/BMI/SESAC and has performance licenses for most/all the songs played/performed. But you also need a sync license when the music becomes part of a video. If the music is original, you need an agreement from the band.

Here’s a good article by the COW’s own Douglas Spotted Eagle on the subject. He’s not a lawyer (me neither), so don’t take this as 100% iron-clad.

tim

[Tim Ward]

Alex: We have never had one lick of trouble using Panasonic tapes in DVcam machines or Sony tapes in Panny machines.

Hey Alex, just to clarify for clarifying’s sake: I was referring to the tape type that DVCPRO uses vs. the type that DV/DVCAM uses. Panasonic, as well as Sony, makes Metal Evaporated tape in large and mini sizes. Sony, however, does not make Metal Particle tape for DV (although they make it for their 1/2″ formats). But of course, the “don’t mix brands” thing is still a commonly-recommended practice.

William: We were able to get the tape to dub successfully onto a DVCAM deck

Man, I know that’s a weight off! Glad you could work it out.

Mark: Tape stock is not a smart place to pinch pennies.

So true, and so overlooked. I’ll add onto that by suggesting to all those who shoot on miniDV, BUY THE EXPENSIVE TAPES, and they aren’t gonna be at Walmart. MiniDV tapes are the bottom-of-the-barrel in tapes. Anything rated for HDV or DVCAM is fine. I haven’t come across any “cheap” tape for DVCPRO, but I’ve used Panasonic and Fuji the most there.

Well…that’s my 2 cents.

tim

[Tim Ward]

I don’t have experience in those sports, but if you’re looking for a body-mountable lipstick/POV camera, maybe something like this would be useful.

tim

[Tim Ward]

The tapes are NOT the same. Keep in mind that the 650 only records DVCPRO, and that DVCPRO requires metal-particle tape. DV and DVCAM use metal-evaporated tape. I’m not aware of DVCPRO decks being able to record DVCPRO onto ME tape, but it may be possible. Also, DVCPRO records two additional longitudinal tracks — an audio track for high-speed transport modes and a control track for instant color-frame lock-up. It’s possible that the ME tape doesn’t allow for reliable recording of the entire DVCPRO signal, hence, the troubled playback.

If there is a deck that would be able to provide reliable playback, it’d probably be the Panasonic D455. It’s the only DVCPRO deck that records on ME tape as well as MP.

tim

[Tim Ward]

The tapes are NOT the same. Keep in mind that the 650 only records DVCPRO, and that DVCPRO requires metal-particle tape. DV and DVCAM use metal-evaporated tape. I’m not aware of DVCPRO decks being able to record DVCPRO onto ME tape, but it may be possible. Also, DVCPRO records two additional longitudinal tracks — an audio track for high-speed transport modes and a control track for instant color-frame lock-up. It’s possible that the ME tape doesn’t allow for reliable recording of the entire DVCPRO signal, hence, the troubled playback.

If there is a deck that would be able to provide reliable playback, it’d probably be the Panasonic D455. It’s the only DVCPRO deck that records on ME tape as well as MP.

tim