Walter Biscardi
Forum Replies Created
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Press ESC during capture. You may want to read up in the manual about the capture process.
Walter Biscardi, Jr.
Creative Genius, Biscardi Creative Media
https://www.biscardicreative.comNow in Production, “The Rough Cut,” https://www.theroughcutmovie.com
“I reject your reality and substitute my own!” – Adam Savage, Mythbusters
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did it update from QT 6 to QT 7? If so, the registration number is not valid for QT 7.
Walter Biscardi, Jr.
Creative Genius, Biscardi Creative Media
https://www.biscardicreative.comNow in Production, “The Rough Cut,” https://www.theroughcutmovie.com
“I reject your reality and substitute my own!” – Adam Savage, Mythbusters
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[gary adcock] “My vote also., but note that this will require a separate capture pass for your audio, which will also be slowed down by this method.”
Which would be cool if the project involves heavy drugs while viewing…. but you’re right, a second pass to keep the audio normal would be best. 🙂
Walter Biscardi, Jr.
Creative Genius, Biscardi Creative Media
https://www.biscardicreative.comNow in Production, “The Rough Cut,” https://www.theroughcutmovie.com
“I reject your reality and substitute my own!” – Adam Savage, Mythbusters
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Just a few more quirks that showed up so I thought I’d pass them along as well.
I opened up three episodes that I completed last week and all three had “lost” their references to rendered files. completely un-related clips showed up in their place. Weird, but a re=render of the clips fixed it.
I could not assign Audio Tracks 3 and 4 to output via Channels 3 and 4 on just one project. Kept changing the Sequence Settings to four channel out, but the completed Sequences would not switch over. So I just had to make new sequences and assign the audio channels out.
Annoyances, but still nothing to stop the show. Just keeping you updated Joe. 🙂
Walter Biscardi, Jr.
Creative Genius, Biscardi Creative Media
https://www.biscardicreative.comNow in Production, “The Rough Cut,” https://www.theroughcutmovie.com
“I reject your reality and substitute my own!” – Adam Savage, Mythbusters
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Firewire Drive to the FW800 port, Deck to the FW400 port.
The ‘tearing’ you’re seeing is normal, that’s a product of interlaced footage playing on a progressive computer screen. You must view your project on an external tv monitor to see the footage play correctly.
Walter Biscardi, Jr.
Creative Genius, Biscardi Creative Media
https://www.biscardicreative.comNow in Production, “The Rough Cut,” https://www.theroughcutmovie.com
“I reject your reality and substitute my own!” – Adam Savage, Mythbusters
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I’ll second Mark on the Kona 2. It should actually be able to capture true 25fps straight down HD-SDI as it support all the frame rates natively. I does keep the metadata and from what I’m told, you can capture at pretty much any of the Varicam frames rates directly through the Kona 2.
Walter Biscardi, Jr.
Creative Genius, Biscardi Creative Media
https://www.biscardicreative.comNow in Production, “The Rough Cut,” https://www.theroughcutmovie.com
“I reject your reality and substitute my own!” – Adam Savage, Mythbusters
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[rogue47] “I’ve already checked that the settings for the sequence are the same as the settings for the clip, and they are, so I’m really stuck. If anybody could hlpe me out, I would greatly appreciate it.”
Apparently not. The Sequence and Capture Settings must match exactly.
Also, if you’re changing the Sequence Settings after clips have already been laid into the timeline, the clips already in there will still need to be rendered.
The easiest way to avoid this issue is to just use the correct Easy Setup for whatever format of footage you’re using.
Walter Biscardi, Jr.
Creative Genius, Biscardi Creative Media
https://www.biscardicreative.comNow in Production, “The Rough Cut,” https://www.theroughcutmovie.com
“I reject your reality and substitute my own!” – Adam Savage, Mythbusters
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[_OOO_] “What’s the difference between using this filter as opposed to using the 3-way Color Corrector and lowering the whites to under 100 IRE?”
You use it in combination with the CC just as an added layer of protection to ensure that nothing spikes above 100. For instance, I use the 3-Way to do my primary color correction, then I apply the Broadcast Safe and Levels (or Proc Amp) filters to ensure my blacks stay at 0 and whites stay at 100 or below.
Walter Biscardi, Jr.
Creative Genius, Biscardi Creative Media
https://www.biscardicreative.comNow in Production, “The Rough Cut,” https://www.theroughcutmovie.com
“I reject your reality and substitute my own!” – Adam Savage, Mythbusters
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[mike] “but, can you suggest a PROC AMP and aprox price?”
it’s built into FCP. I’m using a combination of the Broadcast Safe, Levels and Proc Amp filters for a broadcast HD series right now. They’re excellent for the process.
Walter Biscardi, Jr.
Creative Genius, Biscardi Creative Media
https://www.biscardicreative.comNow in Production, “The Rough Cut,” https://www.theroughcutmovie.com
“I reject your reality and substitute my own!” – Adam Savage, Mythbusters
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[Rolfe Klement] “Thanks for the reply – we will use the sony deck since it is the best price point entry for both DV and DVCAM (we will not use it for HDV) – we need the DVCAM since we have timecode issues coming out of Telecine or from the rushes from developed film – the post house prefer to go to DVCAM”
Since you don’t need the HDV function, you may want to look at the DSR-11. DVCAM and DV at $1,800 or cheaper.
I echo the sentiments of most folks here that the G5 would be the best, but a fully loaded iMac would cut DV / DVCAM material just fine, especially since you say you’re only going to cut the project. No filters or effects. Heck, a 17″ Powerbook will even serve you well for that. You may want to add a second monitor to the mix.
As for media storage, LaCie and G-RAID’s are the two primary external firewire drives I recommend. The FW800 drives can easily handle DV/DVCAM and some of them can handle up to 8bit uncompressed.
To view your projects on an external monitor, simply view the output of your deck to the monitor / speakers. Note that Final Cut Pro has a playback offset built in to the audio playback. For most firewire devices, you want to leave that offset at the default 4 frames. This ensures that you hear the audio in sync with the picture on the external monitor.
Walter Biscardi, Jr.
Creative Genius, Biscardi Creative Media
https://www.biscardicreative.comNow in Production, “The Rough Cut,” https://www.theroughcutmovie.com
“I reject your reality and substitute my own!” – Adam Savage, Mythbusters