[Tpix]

Thanks Tony,

I am in Canada, but we conform to your broadcast signal rules for foreign sales to USA purposes.

I have already digitized using “SMPTE N10” to uncompressed 10 bit. If I output using “Betacam 525” it should be okay??

The master is on Digibeta. If I use the SDI out, will it leave 0 level blacks (similar to Media 100 SDI out)? Do I have to use the component out in order to have the pedestal at 7.5?

Thanks again, and that should be it for questions.

[Tpix]

Thanks Floh,

Tried and checked all of that – no bent pins, no bad cables, betacam output signal ok. Sigh…

[Tpix]

Hi Roman,

The first thing to do is to use a GVG edl. The Avid edl software has a bug in it that converts cmx lists record timecode to non drop in all cases.

You wouldn’t believe the hoops I had to jump through to get the avid house to even admit that it might be a problem at their end. This is a longstanding bug that avid has never addressed. Avid owners are often loathe to admit their might be something wrong with their “cadillac”.

I usually send video and audio tracks as seperate EDLs, to facilitate easier troubleshooting. You need to remember that EDLs are from an era of tape suites, and they, within their original intended use, cannot facilitate all of the information in a non-linear timeline without a little creativity.

As far as the video tracks go, simple ab roll will export to EDL properly. If you have layers then I would export each layer as a seperate EDL. I make this same request when receiving EDLs from avid or other platforms.

It is a simple matter to amalgamate multiple EDLs into a single sequence.

Export audio in four track groups per EDL, using the remap function. EDLs are limited to 4 audio tracks. If you need an explanation of remap, add a note to this thread and I will explain.

At the start of a project it is a good idea to use an organized and simple alpha-numeric tape numbering system. There are limitations on what characters and the number of characters used in the tape# field of an EDL. Refer to the list of tape# name conversions at the bottom of your EDL and you will see what I mean.

Good Luck!

As a side note, it would be great if M100 would get together with the people from automatic duck, which does these kind of conversions for FCP and avid and others. The lack of support for M100 sequence conversion is what forced me to invest in an FCP setup.

Hope Steve Bayes reads this side note.

[Tpix]

I have been using M100 since version 2.

I would like to comment that I have been using FCP 4.5 on a dual 1.42 G4 using 1.2 terabytes of internal storage and an AJAio for the last four months and it has crashed only twice.

Although at one time stability, and 3rd party card issues with FCP were valid, I do not believe that is true any longer. Smoke and mirrors from the salespeople. The AJA video quality is superb. The suite of software that comes with FCP is great. Final Cut Studio is a steal.

I still have two M100 XRs, and prefer them for some tasks, however M100 HAS A LOT OF CATCHING UP TO DO ON THE SOFTWARE SIDE. I immediatley miss things that FCP can do going back to M100. M100 HD is overpriced.

I completely agree about the AVID. It is powerful but clunky and difficult and wrapped in aging and ripe bs(not to mention overpriced). Also, only one sequence open at a time – a deal killer for me (I use multiple sequences instead of bins).

I recently cut a project on AVID and couldn’t wait for it to be over.

If you get FCP do yourself a favour and get a Contour Shuttle Pro, and program it to your liking – it’s like driving a deluxe steenbeck.