[Tony]

Bugsy,

If you are delivering a 16×9 anamorphic master do not send a betacam sp dub.
You are much better off delivering in DVCAM,DVCPRO 50, or digi betacam in this case.

You should deliver a letterboxed version for betacam sp.

Tony Salgado

[Tony]

Graeme,

I must agree digi beta is the most ideal way to go for a broadcast master but many paid broadcast programming is still accepted on betacam sp. Betacam SP will be for quite some years a delivery format as well as a standard workhorse in many broadcast and corporate sectors.

Most stations are not even playing back off tape anymore as they have switched over to servers for playback of all their programming. Delivering a broadcast master with the least amount of compression makes a major difference considering the additional compression which will take place via the playback server.

Tony Salgado

[Tony]

A better question is are you up to the job to become an instructor? You will have to consider the amount of time it will take you to put together an instruction outline and course. As far as the training is concerned it must be at least the same rate as your current editing rate but it should be more because of all of the years of knowledge and first hand experience your are teaching.

Teaching students from scratch is quite different from teaching those who have a fair amount of technical background.

I took a five day course on FCP which ran $1500 for a five day course.

Tony Salgado

[Tony]

Alan,

The problem you are having has to do with inproper infrastructure. A professional edit suite requires some type of routing either via a patchbay or routing switcher to allow the most functionally while at the same time improving productivity (not having to tear out cables each time you want to do a dub).

In addition to a patchbay you may also need a component and/or composite video distribution amps for the other recorders you intend to feed.

Consider hiring a post production engineer who can install and set up the patchbay and video DA’s. The amount of time you are wasting each time you unhook and rehook cables over and over again can be recovered in the time saved and increased productivity. Hiring an expert post production engineer to assist you with your system will be an investment in your future sanity.

Tony Salgado

[Tony]

Marc,

I prefer a 20″ multi format monitor for the editor. The Sony PVM-20L5/1 is a good choice.

Tony Salgado

[Tony]

Hi Bob,

I am on referring to new material in which the client has a choice to originate in HD instead of SD when the final delivery is to be HD.

Granted mixing SD and HD is required for many programs and must be done but if it can be avoiding from the beginning than I personally would choose to do so if I had to originate on mini dv.

Tony Salgado

[Tony]

Bugsy,

If you can only capture via firewire you will need the Panasonic AJ-SD93 vtr with the firewire card. This deck plays back DVCPRO 50, DVCPRO and DVCAM.

Are you delivering a 16×9 anamorphic master? Is so don’t output to betacam you should output back to dvcpro 50 or other digital format to maintain the maximum resolution. Using the DSR-40 to loop thru to the betacam deck is not the most ideal method to maintain image quality instead of waiting for a video card that can output component analog directly to the vtr.

Tony Salgado

[Tony]

Julian,

If you will intend xfer to film then you should be editing in a 24p sequence not 29.97.

Shooting in 24PA is the best method for your eventual xfer to film. Shooting in 24P is designed for projects that will live as a 29.97 project.

The 24PA has the advantage of minimizing any lost in quality due to the method the reverse 3:2 is achieved in FCP versus shooting in 24P which would require using Cinema Tools to extract the 3:2 pulldown.

You can always add back 3:2 for layoff to tape when editing in 24PA.

So in a nutshell if indeed you project will end up on film (and I don’t mean wishful thinking but an actual reality) then I recommend shooting in 24PA.

Good luck,

Tony Salgado

[Tony]

It’s ironic that those who are concerned about HD image quality in post did not originate in HD where it really counts.

Look to be quite frank starting in DV and expecting HD like image quality in post will result in a simple formula time and time again GIGO (garbage in garbage out) and that has nothing to do with what the K2 is capable of doing.

You already lost all your image quality long before you got to post by choosing to originate in mini dv.

Tony Salgado

[Tony]

Michael,

What is your email address?

Will you have the option for a clip on egg crates for the units to help in directing the light source.

Thanks,

Tony Salgado