Walter Biscardi
Forum Replies Created
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I own the 1200A and it works perfectly with FCP 4.5 and is working well with FCP 5 in some testing. In fact, we’re considering moving a broadcast series over to FCP 5 next week which is shot on the Varicam.
As far as exporting an EDL, I understand the CMX 3600 setting is the best. BUT you will need to export a separate EDL for every track of video.
Keep in mind that EDL’s are notorious for having issues so one good thing is to have a timecode print of your offline in case there are any tapes that recapture incorrectly. This way you can refer back to the offline to get the correct shot.
Why not finish on an FCP system? I’m cutting a broadcast series with my FCP / Kona 2 system in HD.
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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[ChrisJ] “Hi, I’m new to Final Cut, and can’t figure out why sometimes I need to render the video that I’ve captured. Is this common, or have I just not flipped the “whosit” switch?”
Your Capture Settings and Sequence Settings don’t match. Change your Sequence to match your Capture Settings and all will work in realtime, provided your drives are fast enough.
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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[JeremyG] “I am interested in getting a tablet. How does it help out on dual monitors, Walter?”
Because the tablet represents the entire desktop workspace whether you have one, two or even three monitors. It’s very very fast to move things around your desktop as there is never a need to “pick up” the pen like you would a mouse.
And it make Photoshop and After Effects really sing when you get into cutting masks or painting.
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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[Leo Ticheli] “I’m not sure what you mean by lack of frame accuracy coming out of FCP. How is this revealing itself? Are you simply controlling and recording to the D5?”
Edit To Tape from FCP 4.5 to a D5 via RS-422 control I was getting one to two frame slippage. FCP was not connected directly to the deck, it was conncted via a router system to the deck.
I’ve spoken with several people now who have confirmed that FCP 4.5 can have a slippage due to the play trigger in the app. FCP 5 has supposedly corrected this issue and it’s now frame / field accurate. I’m going to test both systems next week when the D5 deck arrives here at the shop and we can test under controlled circumstances.
I’m going to look at 1080i captures tomorrow when I resume testing the show. Thanks for your input as always.
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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[Leo Ticheli] “”When the frame rate is set to 24 fps, this unit will
perform the processing in the non-drop frame mode”That’s good for 24p frame rate, but the deck was recording in 59.94 with the user bits OFF and those are the tapes we’re using.
We’ll get it figured out eventually. The big issue right now is frame accuracy coming out of Final Cut Pro. We even when supposedly hooked up directly to a D5 machine, the edits were slipping a frame here, a frame there. I have a D5 coming into the shop next week and we’re going to get to the bottom of this issue.
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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[Leo Ticheli] “I understand your reluctance to upgrade; perhaps you can use one of your suites as the test while you leapfrog to the next OS. FCP 5 is very powerful and seems to work well with our DeckLink HD Pro cards. Surely it works just as well with AJA.”
Sorry, forgot to mention, FCP Studio is running on both our remote system and our second suite, but not in the HD suite yet. We’re testing it to be sure it works reliably before moving it to any mission critical projects.
Also, just heard from our Panasonic rep that 59.94 IS Drop Frame according to them. I told them Apple didn’t get the memo because all the timelines are non-drop frame.
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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[Leo Ticheli] “I would cut the show either with a 24 fps timeline or directly to 1080i. Perhaps you can talk to the network and get them to revisit their Terranex demand.”
Not my call to make. I’m just the editor, that’s up to the Production Company and I’m quite certain they are not going to make that call.
Have you captured from the 1200A to 1080i for a broadcast show and had their Quality Control approve the edit?
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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[Leo Ticheli] “Why not FCP 5.0?”
Not comfortable putting FCP 5 right into a broadcast series. FCP 4.5 is very stable with OS 10.3.8 and I don’t want a new OS and new FCP .0 version on this show.
[Leo Ticheli] ”
Was the project shot at 24p? Why edit in a 59.94 timeline rather than 24p?”The show was rolled into a 1200A deck which was left at 59.94. What would 24p buy me with a show that ends up at 29.97 drop frame?
[Leo Ticheli] “If you were going to 1080i, why did you not edit at 1080i? The Panasonic deck can output 1080i, and it’s usually better to work in the final format. Why use the Terranex at all if you can simply spit out 1080i natively?”
Terranex is specified by the network for any footage shot with the Varicam in 720p.
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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Funny, last night I was discussing with a buddy the need for four channel audio capture on a project we’re putting together so now I am going to be doing a full scale HD test with my FCP 5 system. Since FCP 4.5 only supports 2 channel audio capture, I’ll be moving the Kona 2 over to it along with Final Touch HD to see how it all works
So I’ll report back here in a few days and let you know how the testing goes.
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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[Steve DSV] “I guess it’s an Internal/External/Cost decision in the end so long as both options will give comparable speeds?!”
It’s also a question of flexibility in your workflow. I’m constantly taking my drives to various locations to capture, output, edit, etc…. depending on what I’m doing that week. I work with a lot of producers who cut their own stuff on FCP, other edit facilites and even on studio locations. So the flexibility of having the G-RAID’s and LaCie’s external means I can just pack up the drives and go wherever. I also sometimes send my drives to the client so they can pre-capture the footage before we start the edit.
Just depends on what type of workflow you want.
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