DVL-Digest 1194 - Postings: Index continuous time code Dazzled - (2) - (3) PAL 16:9 to 14:9 framing in 4:3 [DV-l] D-9, not D9. . . . continuous time code - "Perry Mitchell" From: Kirk Lohse Diana, >Two related questions: >1) I took a Final Cut Pro class recently, and the teacher said that we >should run our blank DV tapes through the camera and record black before >shooting/ to ensure a continuous timecode. This seems time-consuming, and >wouldn't it affect the images eventually captured? This is SAGE advice. Heed it well. I think this is the DV equivalent of a the carpenters' old adage, "measure twice, cut once". It will save you much wailing and gnashing of teeth in the future. And, no-it will not in any way affect the images yet to be captured, except to make them easier to capture! Let's say for instance someone borrows your camera to shoot something they want you to edit for them. If you put a fresh tape in the camera and they do their shooting, turning the camera off and on several times, you'll have numerous places where the recording starts at 0:00-aka broken timecode-and because of that, you won't be able to batch capture in FCP. This means you'll have to do a manual capture and babysit the computer until you're positive that you've captured all the clips. THAT's what's time consuming! >2)I had a problem with my current project, in that every time I rewound the >tape to see what I shot, it broke the time code. Now I have tapes with >broken timecode. How can I deal with this issue in editing with Final Cut >Pro? Easy. Blackstripe a fresh tape. Dub your "broken timecode" footage to this tape. It won't matter that you have gaps and/or blank spaces in the dub, because the timecode will be consistent. Capture your dubbed tape into FCP and edit those bad spots out as you create yet another digital masterpiece! Dazzled - "Perry Mitchell" From: Alexei - DV411 : OK, then I'd suggest the Canopus ADVC-100. A terrific choice, way ahead of DV-Bridge in build and conversion quality. Another possible choice is Canopus' new ADVC-50: analog in only (not out), list, internally mountable (like the StormBay), same excellent DV codec, and it does not need external power: http://dv411.com/advc50.html : Hmm…Sony must be coming out with a replacement for the : DVMC-DA2. Sony discontinued their DVMC-DA2 around August last year, and the replacement (DVMC-MS1, with Sony Memory Stick reader) is not available either, despite being there on Sony web site for over a year. So Canopus' units remain the best choice, not just because the Sony is not available, but also because of locked audio, FireWire pass-through and NTSC/PAL support, and multiple I/O connectors, all unique to ADVC-100. Dazzled - "Perry Mitchell" From: Carter, Gil I notice that nobody has mentioned the DataVideo DV converters which do the same type of operation. Their DAC-100 seems to be a fairly close match the Canopus ADVC-100 (ie. composite and Y/C), and the DAC-2 is the high end version which does DV->YUV and vice versa. Dazzled - "Valerie Shoaps" >I respectfully concede to you >and Kirk, the Canopus converter looks like the superior product. Thanks >for the lively discussion. Thank you, Ian. That was a very cool thing for you to do. Valerie PAL 16:9 to 14:9 framing in 4:3 - "Perry Mitchell" From: Richard Measures >I then imported the completed .avi file into the Canopus editing program >and applied a 'Picture in Picture' effect, squishing the vertical size to >75% and centering the picture against a black background. Thanks Eric, nice tip for getting 16:9 into a 4:3 frame realtime, but this doesn't work for 14:9. The Canopus PinP filter will only resize to the edge of the frame, not expand beyond it. To achieve the 'UK happy 14:9 look' requires the left and right edges of a 16:9 frame to hang beyond the 4:3 frame. After Effects lets you do this, but loses some resolution and requires rendering. [DV-l] D-9, not D9. . . . - "Crittenden, Jan" > From: Crittenden, Jan > > JPW asked: > > Also, I wonder why JVC adopted D-9 but Pana still hasn't for D-7 > (DVCPRO-25). Any ideas? > > Why would we adopt the D-9 format? DVCPRO50 is selling > extremely well, and > soon will get even better, with new lower cost camcorders and decks. > Additionally with the addition of 4:2:2 firewire in December, > it should get > even Hotter. So maybe I did not understand the question. > > Are you asking why we don't refer to it as D-9? D-9 > describes the cassette > size as well, and our camcorders are not that big. > Additionally because > DVCPRO50 are DV based they play DV, DVCAM and DVCPRO tapes. > Can't do that > with the D-9 product. So JPW, I need clarification on the question. > > > --- > You are currently subscribed to dv-l as: crittendenj@panasonic.com > To unsubscribe send a blank email to %%email.unsub%% > -- (cut off when replying)----------------- > This list is made possible by Lifetime DV-L Benefactors such > as http://promax.com, http://videoguys.com, > http://panasonic.com/broadcast and the contributions of its members. > > > To contribute money: http://dv411.com/dvl.html > All about DV-L, to subscribe & unsubscribe: http://dv-l.org > (diese posts stammen von der DV-L Mailingliste - THX to Adam Wilt and Perry Mitchell :-) [up] |
 slashCAM  News HD Camcorder database One-on-One Cam comparison About our tests About us |
|
|
