Tony
Forum Replies Created
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It’s called a window dub with burned in timecode.
You can either do two methods.
1) the easiest is to dub from the dbeta deck to a dvd burner via the composite output which can “superimpose” the timecode off tape.
2)after you have captured into FCP use the timecode filter to burn in the timecode over the clips. This could be a time consuming process if you have to render out the timecode filter effect depending on how powerful you system is.
Tony Salgado
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Tom,
From what you explained your footage is in the dv 4:1:1 codec which is less than ideal for motion on stills.
The blur will help out greatly but you may still have some artifacts.
I had a job similar to yours awhile back and I ran a comparison between dv, dvcpro 50 and 8 bit uncompressed to compare the degree of motion artifacts.
Both dv and dvcpro 50 had motion artifacts I found unacceptable so I ended up doing the entire piece in 8 bit uncompressed without problems. My footage had been captured originally as uncompressed.
Tony Salgado
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what codec are you using in the timeline.
This will also have a major impact on an motion artifacts from stills.
Uncompressed codecs are the best dv codecs one of the worst for this application.
Tony Salgado
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The fix will be to hire a midget or small children to shoot your stuff.
Tony Salgado
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Walter,
Since the guy is primarily working on beta sp and mini dv material he should ease into what suits his needs today and not be concerned about overkilling for tomorrow.
A used last generation G5 and Kona 2 card might be considered more than he even needs now but is a good place to start.
Tony Salgado
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Betacam vtr’s accept component YPRPB not RGB.
Sending an RGB signal to the beta vtr would be incorrect.
Aja’s recommendations are accurate the info you received from your boss is not correct or misleading.
Tony Salgado
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Buy a used last generation G5 which is proven. Pick up a used AJA IO or Kona 2 card.
Buy the rest of the gear used and save lots of money.Or hire a qualified reseller like Bob Zelin to sell you all the stuff, install it and get it up and running for you.
How much you got to spend?
Tony Salgado
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Since the band works for Jesus (sort of ) then do the work for free as you will be rewarded eternally upstairs should you be granted access.
But since you most likely owe someone else money for bills etc then factor in how much is your overhead, how much capital investment will be required, what your rate of return for ROI (return on investment) is, what the market rate for similar services are in your area, put this all in a blender mix it all up for five minutes add sugar for additional flavor stick it in the microwave …. and magically five minutes later your hourly rate will appear on the microwave clock display after the chime goes bing.
If it shows zero then you are not charging enough to stay in business past tomorrow at noon.
Oh I forgot to factor in your professional experience level. If your a novice then do the work for experience or at minimum wage. If you are a seasoned professional .. . well you would not be asking the question in the first place.
Have fun and enjoy it while you can.
Good luck,
Tony Salgado
PS- don’t use the defroster mode in the microwave because your rates will be calculated at half rate since the microwave is using half or less power.
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Since it’s a live event and the switcher does not deal with timecode tracking from the master timecode generator (it needs to be providing jam sync code to all cameras) which is essential to create an EDL there is no way to create an EDL.
In the old days of CMX (a linear editing controller) you could playback all your tapes and do a live cut via the controller with an EDL of all your cuts.
But this was only possible because the controller was playing back tapes where it could read the timecode from the vtr.The point of a line cut is to trim down alot of the editing in advance while on site.
Ideally unless the director on site was a complete idiot you only need to trim down the line cut and dip back to the iso reels for reaction shots or to extend shots etc.
In FCP you can use the multicam feature and load in the linecut and all the iso reels thereby using the line cut as a guide. It would be very useful to record the director’s intercom feed so you could also hear the cue for “ready cam” and “take camera”.
If you record the intercom audio you can easily recreate the entire by listening to the director’s cues.
Tony Salgado
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Sean,
The simple color correction I was referrring to is a down and dirty one light which can easily be accomplished in FCP by using the three way color corrector.
Until you have a final cut there is no need to do the final full blown secondary color correction but a simple gamma correction is easily and quickly accomplished.
You can even save the CC settings as a favorite and globally apply the change to several clips or the entire timeline if needed.
Tony Salgado