Vance
Forum Replies Created
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Oh but wait…
I reset the preferences to factory default, and low and behold my media viewer is back. The default is path based and prefer path. I deleted the proxy media from last nights run, so am rebuilding that now.
Thanks Robb, that seems to be the hint that put me back on track.
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I am using the standard version of CatDV on a single machine. All the files are local to that machine. The proxies are M-Jpeg, which I believe is the default for the program. In the Proxies & Thumbnails preferences Based on tape & timecode and Based on path are both checked. Prefer path is not.
If it is important this system is on a Lion (10.7.4) Mac.
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Thank you Ian. That was exactly it.
-Vance
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Thanks for the quick reply Ian. I spoke with Sony support and they filled me in on the Data folder and process. Clip browser looks promising for making playable files. Thanks for the lead, time to go play!
-Vance
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Chris just told you the preset to use. I would like to add a little detail to clear up what I think is some confusion on your part.
Back in the day video came in two flavors, NTSC and PAL. Now, unfortunately it comes in dozens. Resolution, frame shape, compression codec, even how it is drawn on the screen, are things that affect what “kind” of video it is.
First of all it is not possible to have 1080i30p. Like ordering from the lunch special menu, you only get 1 from column A. Your video is either interlaced (i) or progressive (p). Most commonly 1080 video is interlaced. Not always, but most frequently. That is especially true if the frame rate is about 30, which in interlaced terms is called 60. There are 30 frames in a second, each of which has two fields.
So you took what I am pretty sure was 1080i60 DVCPro media and dubbed it to an HDV format recorder. When you did that you changed the compression codec from DVCPro to HDV. Actually you decompressed the original footage, sent it along a cable to the Sony machine and re-compressed it as HDV.
That machine is probably hooked to your edit system with a Firewire cable right? If that is the case you would use the preset Chris had mentioned.
If not, please call back with details of how you have hooked up your system, and what kind of capture card you are using.
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Tom-
Great site. It has not been updated in two years, so I wonder what has happened since then. That is a long time in computer years.
-V
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Tony-
Sorry I missed your response the other day. While I agree that just because others do something it may not be right for any given application, there is some utility to knowing what “the big boys” are up too.
They often have the need and resources to research the technology they use and buy. If your work is similar to theirs it can be helpful to know how they are working.
-Vance
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Hi Tom-
I spoke with Hans the other day. He was on his way to boating around Tampa Bay.
As I said in my offline reply, I am comming to understand that what my partner is talking about is an FCP setting using the Kona card to capture uncompressed rather than a compression codec. I will have to do some expermenting to see if there is any visual difference if I compress his elements to DVCPro to work with the game footage, or up rez the game footage to work uncompressed. If the difference is not noticable there are obviously a lot of advantages to working in the DVC coded.
-V
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Thanks Walter. I have never had a problem using DVCPro 100, tho I have always used it at 720p. I have yet to see it with 1080i footage, but I can’t imagine it would be much different.
My partner does most of the graphics work, and really perfers not to compress till the last possible moment. As the fill the donut guy, most of my source footage is already in some contribution codec anyway. My workflow and storage would be much easier in the DVC codec, but I am not sure I can sell him.
-Vnace
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—>I was talking to Tom Meegan from Woven Pixels today at the C4 sports show and confirmed that he is in fact using DVCPROHD for all of his graphics during the World Series for the last 2 years.
I do think that we would be OK working in the DVC Pro codec. As our work will be feed back into an EVS before it goes to air, it is going to be stepped on anyway.
—>This is exactly the way that FOX did the ALCS and World Series the last 2 years, not to mention the Superbowl, the Daytona 500 and Nascar every weekend.
As for the Superbowls, I have done the last 6 in one capacity or another, and I have yet to see FCP interfaced to the EVS at the network level. In HD it has not been possible until recently to have the EVS transcode to HD QT format. Everything I have seen has been transfered baseband.
-Vance