[Uli Plank]

I’m very sorry, but this can’t be told in just a few words. Did you read and understand the manual for Cinema Tools completely? You need to set up a project in this program and do the whole workflow to translate between keycodes from film and timecodes in video.

This article may help as well:
https://www.kenstone.net/fcp_homepage/film_digital_video_cinema_tools.html

Regards,

Uli

Author of “DVDs gestalten und produzieren”, a book on professional DVD-authoring in German.

[Uli Plank]

Compare it to G Converter on a good display and you’ll see for what you pay the 100 U$ 😉

Regards,

Uli

Author of “DVDs gestalten und produzieren”, a book on professional DVD-authoring in German.

[Uli Plank]

Do I understand this right: You have your film as 25 fps in FCP (Pakistan is PAL, right?) and want to use that footage right away for transfer back to film?

While this is not the way to get best quality, since Digi Beta has far less resolution than film, you can use this method:
– Save your film as a quicktime movie (referenced is OK).
– Open Cinema Tools and click ‘Cancel’ on the first prompt. Go to “Open Clip”, look for your movie and do a “Conform” to 24 fps.
– Open the result in QT Player Pro and export it as “Image Sequence”.

But I’d recommend doing the full offline/online process as described in the manual for Cinema Tools to preserve full quality or use HD in FCP (which probably doesn’t help for this project any more).

Regards,

Uli

Author of “DVDs gestalten und produzieren”, a book on professional DVD-authoring in German.

[Uli Plank]

Try the G Standards Converter from Graeme Nattress

[Uli Plank]

I gave up when I tried this, sinced we had a DSR-11 around, but that’s very helpful info for those without a switchable device.

Regards,

Uli

Author of “DVDs gestalten und produzieren”, a book on professional DVD-authoring in German.

[Uli Plank]

Yes, you are misunderstanding the purpose of Graeme’s filters, do as you’ve been told here.

But I can confirm that my European TRV900 was able to play NTSC tapes, so it’s possible that an American model plays PAL. But if I remember well, it didn’t work over FireWire.

Regards,

Uli

Author of “DVDs gestalten und produzieren”, a book on professional DVD-authoring in German.

[Uli Plank]

There’s a new beta online. Give it a try, it should cure a few audio sync problems.

Regards,

Uli

Author of “DVDs gestalten und produzieren”, a book on professional DVD-authoring in German.

[Uli Plank]

Not so bad for the price, but far from resolving HD.

We are using an Acer Aspire laptop with DV Rack. Have a look at the reviews here at the Cow.

Regards,

Uli

Author of “DVDs gestalten und produzieren”, a book on professional DVD-authoring in German.

[Uli Plank]

Sure, DVCProHD (being an intra-frame codec) is easier to handle and keeps the CPU free for other things, even if a current MacPro 3 GHz can handle six HDV streams PIP in RT. I agree as well that 4:2:2 can handle CC better.

But

[Uli Plank]

While I’d also recommend using the media manager, I’d not recommend doing it at all except for a project with lots of original footage in DVCProHD.

While both are great aquisition codecs, they do both pretty heavy compression. You’ll add up artefacts by introducing an extra recompression stage unless you really need it. Sure it’s impractical for editing to have two different codecs in the timeline, that’ll justify it.

But you don’t gain much going from HDV to DVCProHD for all your footage, unless you have to deliver in DVCProHD.

BTW, you internal drive may be a tad too weak for reliable DVCProHD playback, you’ll need one of the MBPs with FW800 and a small RAID attached to it or a SATA RAID attached via an Express card.

Regards,

Uli

Author of “DVDs gestalten und produzieren”, a book on professional DVD-authoring in German.