Wayne Vollweiler
Forum Replies Created
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I’ve had the best experience with Rosetta Stone RS422 to RS232 converters. You can’t just plug a 9 pin cable in directly and expect it to work because 422 and 232 are different signals. It must me converted.
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When blacking a tape or doing and assemble edit you have to be in rec-run and INTERNAL tc generator. If you are in external, the deck will be looking for an incoming TC signal (not through RS-422) to sync to. That is where your error is coming from.
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While this is a nice thought, the record labels will strongly disagree with you. You client bought the “Rights” to LISTEN to the music they bought from iTunes on an MP3 player or to burn it (a limited number of times) to a CD. They did NOT buy the rights to include copyrighted music in ANY video production what-so-ever. People do it because most of the time it won’t be caught by a record company exec, but it is NOT LEGAL to use someone else’s copyrighted music unless you get specific Rights and Clearances each and every time. Producers AND editors can be held accountable for the royalties when the lawsuit hits. Everyone in this industry should get a good book about copyright laws (and read it), or a really good intellectual property lawyer. Don ‘t kid yourselves – you never know when Tommy Mottolla is at a friend’s house watching their nice wedding video…
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I’m sorry. I just realized that I posted this to the wrong thread. Too much time at the computer. My response was actually to the next thread down. Again, sorry for jumping in on this one.
Wayne V. -
Just a word to the wise… a lot of music labels are getting real picky about what their music is used for. Pirated music is a major issue with them and they will not hesitate to prosecute. Just because you “bought” the music from iTunes does not give you rights and clearances to use it in a commercial video production. You bought the right to listen to that music on your computer or personal music player – not to use it as background music in a video. Be VERY cautious. Producers and editors can be held accountable.
Wayne V. -
If your project is going to be broadcast, then you use DROP FRAME. That is the mode that keeps color television locked to true clock time. If your project is not going to be broadcast (event videos, corporate vieos. etc) where exact timing isn’t that critical, then non-drop is fine. Over the course of 1 hour, drop frame will be exactly 1 hour while non-drop will be 1 hour 3 seconds 18 frames. In television land, that’s a hugh difference.
As an editor, you would want your camera to record the same kind of timecode that you will be editig in, but with NLEs, it’s not as crucial as it used to be. If you can, keep thenm both to drop frame and you’ll never have an issue.
Hope that answers your question some.
Wayne V. -
I don’t remember the menu settings on a DSR25 off-hand. I don’t think there is a setting, though. It just works as a pass-thru. Bring the TBC with you anyway. What’s the worst that could happen, you bring it home again?
Wayne V. -
Here’s a question you need answered by the production house. Are they digitizing from DV using firewire? If so, DV has 0 setup. Same goes for SDI. The only way around that is to digitize via an analog connection which is where 7.5 IRE setup lives. If they are outputting to a BVW-75, then they are connection via s-video or composite. They could run the AVID out connection through an analog TBC and put black where it belongs on the BetaSP. Of course, there’s the possibility that they are giving you super black in case you need to do any effects work old-school style (lumanance keys).
Wayne V. -
Instead of doing your moves with the Avid keyframer, try using Boris – should render quite nicely.