[Walter Biscardi]

A really slick monitor is the 17″ Sony MFM-HT75W which is a multiformat Computer / HDTV monitor. It has two computer inputs, RGB and DVI and it features Component, Composite and S-Video Inputs along with a regular TV tuner. I got mine for $599 at a local Fry’s Electronics.

I have a mobile workstation as well and the beauty of this single monitor is that I get a very high resolution DVI image for editing FCP, then switch over to the Component Input to watch the video in full HD via my Kona 2.

The monitor is NOT good enough for critical color correcting decisions, but for straight editing, it’s great.

Walter Biscardi, Jr.
Creative Genius, Biscardi Creative Media
https://www.biscardicreative.com

Now in Production, “The Rough Cut,” https://www.theroughcutmovie.com

“I reject your reality and substitute my own!” – Adam Savage, Mythbusters

[Walter Biscardi]

There’s a great tutorial that comes with Final Cut Pro. It would be very wise for you to run this so you can learn how the interface works. You simply de-select the video and audio tracks which is explained nicely in the tutorial.

Walter Biscardi, Jr.
Creative Genius, Biscardi Creative Media
https://www.biscardicreative.com

Now in Production, “The Rough Cut,” https://www.theroughcutmovie.com

“I reject your reality and substitute my own!” – Adam Savage, Mythbusters

[Walter Biscardi]

Never heard of the company myself. I purchase from ClubMac.com most of the time.

I purchase all RAM from http://www.crucial.com as they are extremely reliable and make a very easy product matrix to ensure you order the correct RAM for your machine. RAM installation is a snap and installing a new graphics card is easy too. I just installed the ATI X800xt in mine.

Walter Biscardi, Jr.
Creative Genius, Biscardi Creative Media
https://www.biscardicreative.com

Now in Production, “The Rough Cut,” https://www.theroughcutmovie.com

“I reject your reality and substitute my own!” – Adam Savage, Mythbusters

[Walter Biscardi]

[Otis F] “Would the best workflow be to get those 50p and 60p tapes converted, which I assume would mean being put onto other tapes via a FRC running at 25p? Or could I use the FRC plugin which I downloaded from Panasonic? I’ve heard that if you use the HDSDI input then there is no need for a FRC, I don’t know how true this is. This may be an alternative workflow, I’m assuming that we could do this and downconvert and then online elsewhere as we don’t have the necessary hard drives for full HD.”

Coming in via Firewire, FCP will automatically see the 23.98 and 59.94 flags if you have the option selected to ignore duplicate frames in the Capture Settings. I’m not sure on the HD-SDI side as I have not captured any 50 or 60 via SDI yet. The Frame Rate Converter from Panasonic works very well and I’ve used it on test footage shot from 4fps to 60fps and it pulls the frames very cleany and quickly.

What I do is capture all the clips via Firewire. Then take the clips I know are a different frame rate and move them to another project. Perform all the FRC work in that new project. Now move the resulting clips back to my original project. This just keeps the original project cleaner.

Walter Biscardi, Jr.
Creative Genius, Biscardi Creative Media
https://www.biscardicreative.com

Now in Production, “The Rough Cut,” https://www.theroughcutmovie.com

“I reject your reality and substitute my own!” – Adam Savage, Mythbusters

[Walter Biscardi]

[nevo] “i have, but as you are probably aware, its tumbleweed land over there!!!”

Yeah, it’s a shame too because that card still has features that nobody has today like real-time Chroma Key and the multi-formats in the same timeline. I guess when you flood the market with cheap cards that makes everyone an HD editor, folks jump on that bandwagon in lieu of more performance.

If you decide to leave the platform at any time, the Kona 2 is definitely a great transition to make.

Walter Biscardi, Jr.
Creative Genius, Biscardi Creative Media
https://www.biscardicreative.com

Now in Production, “The Rough Cut,” https://www.theroughcutmovie.com

“I reject your reality and substitute my own!” – Adam Savage, Mythbusters

[Walter Biscardi]

I would post this over in the CineWave forum.

Walter Biscardi, Jr.
Creative Genius, Biscardi Creative Media
https://www.biscardicreative.com

Now in Production, “The Rough Cut,” https://www.theroughcutmovie.com

“I reject your reality and substitute my own!” – Adam Savage, Mythbusters

[Walter Biscardi]

glad I could help!

Walter Biscardi, Jr.
Creative Genius, Biscardi Creative Media
https://www.biscardicreative.com

Now in Production, “The Rough Cut,” https://www.theroughcutmovie.com

“I reject your reality and substitute my own!” – Adam Savage, Mythbusters

[Walter Biscardi]

Look down about 5 threads to Tony Clark’s thread. It’s the exact same question.

Walter Biscardi, Jr.
Creative Genius, Biscardi Creative Media
https://www.biscardicreative.com

Now in Production, “The Rough Cut,” https://www.theroughcutmovie.com

“I reject your reality and substitute my own!” – Adam Savage, Mythbusters

[Walter Biscardi]

We got the entire issue resolved and are now able to make completely frame accurate edits using Final Cut Pro 5.0 with our AJA Kona 2. Here’s a full overview of our findings.

DVCPro HD as a format is Non-Drop Frame for all frame record settings except true 60fps. 59.94 and 23.98 are both Non-Drop Frame settings. The primary issue we faced is that the network obviously requires a 29.97 Drop Frame Master. What we were attempting to accomplish during our testing was to force Final Cut Pro to accurately start the show on Field 1 of 01:00:00:02 on the HDCAM Master from a DVCPro HD Non-Drop Frame Timeline.

What we were able to show in our test is that Final Cut Pro 5.0 is frame accurate on each and every edit, however, it was landing 1/2 frame backwards or forward each edit. On a few of the edits we hit straight up 01:00:00:02 on Field 1. On most of the edits we landed at 00:59:59:29 Field 2 . The film lab attributed that 1/2 frame offset to the Teranex converter and confirmed that Final Cut Pro was cutting accurately each time.

Here is the procedure we used:
Final Cut Pro Timeline – DVCPro HD at 59.94
In Point set to 00:59:00:00 (Start of the Bars)

Sony HDW-F500 HDCAM Recorder connected via RS-422 to Final Cut Pro (via Kona 2)
Time Source set to LTC+VITC
Playback Offset set to +00:00:02

Assemble Edit until just after 00:59:40:00

Perform a second edit at 00:59:40:00 (Start of Slate)

Edit through the rest of the show.

This procedure seems to render us a reliable, frame accurate master each time.

Very special thanks to CineFilm Labs here in Atlanta for their help in the test and to Ramy Katrib at Digital FilmTree for his input as well. And a huge thanks to Guitar Center here in Atlanta for their assistance in putting together the Road Ready Cases for the new Biscardi Creative Media Remote High-Def Workstation. 10bit HD in a box. 🙂

Walter Biscardi, Jr.
Creative Genius, Biscardi Creative Media
https://www.biscardicreative.com

Now in Production, “The Rough Cut,” https://www.theroughcutmovie.com

“I reject your reality and substitute my own!” – Adam Savage, Mythbusters

[Walter Biscardi]

[olivier jean] “any new on the automatic duck fix with Tiger?”

Actually I did hear back from Wes yesterday and he’s not able to reproduce what happened here. He is able to make the conversion perfectly whether he uses Tiger or Panther. So I need to investigate more here and see if I can make the conversion correctly with another Tiger machine.

Walter Biscardi, Jr.
Creative Genius, Biscardi Creative Media
https://www.biscardicreative.com

Now in Production, “The Rough Cut,” https://www.theroughcutmovie.com

“I reject your reality and substitute my own!” – Adam Savage, Mythbusters