Hi all you smart knowledgeable people I wonder if anyone can help. I have collected 30 hours of HDV footage in Tibet and want to begin logging. It was shot on sony hdva1u. My edit system on PC is premiere pro I also capture using the DV raptor card. If I log footage on PC with this system. Will it be availabe to be read on MAC final cut pro. I will offline on PC myself and possibly have the edit done on MAC is this possible?????. Can I possibly capture on quicktime and bypass the raptor will this be readable on both systems
Thanks
Help
Chris Macneil

I couldn't find a correct cable for AV output to RCA. Instead i found regular 3.5mm stereo plug to RCA. It worked fine for video EFV. Black(sometimes White) line to EFV. Red just not connected anywhere.
Any bad experiences? Smoke? Because AV has 4 connnectors but stereo plug only 3. So something is shortcutted. Maybe it's not issue at all because of high electrical resistance? What is AV's electrical resistance?

Here's an interesting profile on Ed Burns on the Apple Website (yes, it is also a promotion for Apple's products)

For those of you who don't know or remember, Ed Burns' first film, "The Brothers McMullen,” won the Sundance Grand Jury Prize in 1995.

http://www.apple.com/pro/profiles/burns/

DV Challenge #6 sign up thread is OPEN!
Put your camera where your mouth is. No, not literally. Or maybe. I haven't picked the theme yet. :)
http://www.dvinfo.net/conf/showthread.php?t=71324

I want to know some info about the quality of this lens. Anyone?

thanks

I would like to keep my editing PC as clean as possible by installing only the minimum of software needed for the specific purpose, so instead of installing a complete DVD player software, I would prefer a codec only, that would be recognized by the already installed players (WinMedia and QT) to play DVDs.

Is there such a thing out there? Maybe a free one? I don't need all the frills, just plain DVD functions.

Thanks,

Hey everyone. I have iMovie HD v5 on my Power Mac G5 and I just finished videoing on my Sony 3-CCD DCR-TRV900 with 16:9 on. I don't thinkn it's true widecreen cuz when I switch back and forth on the camera settings it looks like it just letterboxes. Anyways, everytime I import on iMovie HD v5 it scrunches it and moves it back to 4:3. So I did the whole New Project then DV Widescreen thing and imported. But then it pillarboxed and still made it 4:3. I've been trying to figure it out and most people just say to deselect the "Automatic pillarboxing and letterboxing" but I can't find that and think it might just be on iMovie HD v6.

So... can you guys help me?



PS: I also have Final Cut Express HD and I've tryed switching it to Anamorphic then capturing but everytime I hit "esc" to stop it just sits there saying there's a timecode break and it never does anything. I was planning on editing this movie in FCE but I was gonna import it into iMovie 5 then move it over to FCE. So... yeah. Just thought I'd let you guys know in case you have another way for me to do this.

Thanks,
PW

I just recently downloaded Microsoft's free beta Media Encoder but haven't had time to play with it. Anyone have any experience with this program ? Will it encode DV or AVI files for recording onto a HD DVD using a HD DVD burner (when they come out) ? Can it be used to convert DVCPRO HD to a HD DVD recordable format ?

i know there's been a lot of work on chroma key and DV and most of the threads I read suggest it isn't a good way to go.

OK, here's the deal. I have FCP 5 and a small green screen room and am shooting at 30P 16:9. The Chroma keying I am getting is "almost" acceptable. Is there any options for me? I am trying to drop the talent into a still and have it look real - and not having a lot of luck. I can't buy a new camera, but would consider new software if that helps.

Appreciate the dialog. The only cure I have found so far is multiple mattes using keyframes to tie them together. This is REALLY tedious.

Thanks

Just as titled.

anyone here going to quakecon in downtown dallas this weekend?

Check out this New York Times article:

http://www.nytimes.com/2006/08/03/technology/03basics.html?th&emc=th

It made me wonder. Could this same principle be applied to video? Cameras already have 3 ccds. What if each ccd had a different shutter speed? Couldn't you produce a very high-contrast (black and white) image?

Hi members of DVinfo, next friday a got a a big work to do. A friend call me to direct a live show video recording of a rock band and creat a DVD of it. They only have money for the cameras. I have experience with corporate videos, family, travel,some TV but my first time with a band. The Dvd will contain a small version of the show with 5 tracks. Also it will have a music video with the images of the friday show, saturday show and "backstage" images of the weekend. The friday show it will be recorded for the 5 tracks small version of the show. The Saturday show, daylight foottage and backstage images of the band will be used to creat the music video. Specifications:

The location where the shows will hapend is a big island on the brazilian coast.

Friday night
Location: open soccer field with 2 meters height stage located at end.
Sound tower located at the center of the field
Live show basic ilumination
2500 people expected
Video setup: 4 or 3 sony Pd 150 recording on camera tape and an old sony TRV 1CCD
Audio setup: It will be recorded all instruments on a pc beeing feed from the master to sync later with video

Saturday night 3 hours show with 2 breaks
Location: Small bar no stage
Video and Audio setup: 1 sony Pd 150 recording on camera tape and an old sony TRV 1CCD

The music band images record during the weekend will be recorded with 1 sony Pd 150 recording on camera tape and an old sony TRV 1CCD

For editing and post i got a P4 2.6 2gig of ram 1hdsata80gb 1Hdsata250gb Premiere Pro 2 Aftereffects(plugins) and Encore DVD

I read/study this forum every week and other 2 but I´m not 100% confident on recording live show, music sync for video show and music video, multicamera editing.
I would like to hear some advices,tips and toughts of people that had some experience with jobs like that or have crazy usable ideas on all the process freom rec to dvd delivery.

I've been working on a new HDV workflow. I'm using HDVsplit to capture the footage from my HDV camera. It can split the files based on scene detection, but this isn't working too well because in order for me to convert the clips to DV in Virtualdub, I need to manually make an AVIsynth script for each file I wish to re-encode. I re-encode to DV so I can do an offline edit in PPro 2.0 and re-link to the HDV files when finished. So ideally, I want to capture one big HDV file, make one AVIsynth script, do one encode, and split the resulting DV avi file. Is there a program that can split DV-avi based on scene detection just like HDVsplit does with HDV files? Or better yet, is there a better workflow for this whole thing? Is there some way I can automate the AVIsynth script so I don't need to type one up for each scene?

I have done some searching for this one, but I am still not sure about it. I have a client who wants me to capture 10-15 hours of old vhs, Hi-8, etc. and put to DVD. No problem with hourly edit pricing. My question is: how do most of you charge for capture rates and for rendering times that would take hours? It looks like it should be less than my standard rate when I am in front of the computer, but still enough to cover costs. Thanks for any advice.

Chris

Aloha!

I am going to freelance some action footage that I have been gathering on my Sony HDR FX1E (PAL) and sell it to companies from the states (they do the editing and my footage is just a small part of the whole).

I was wondering what might be the best way to record and sort it out for them? Can they capture it and convert it or should I do it beforehand?

Thanks!

With the lively discussion of 24p I wondered if anyone was working in PAL and then converting over to 24p for use in the US?
Pal with the additional 100 lines of vertical resolution raises a few questions, for instance if you shoot in PAL sd with a created wide screen for instance on anm XL1 pal or a trv900 pal, in theory, the masked off part of the image and the resulting loss in resolution might be off set with the additional 100 lines, so a clever convert to ntsc "might" be able to be close to full ntsc resolution

With pal being 25fps, slowing down to 23.97 for say a dvd production "Might" be practical??

Anyone doing this? anyone work out a work flow in Vegas?

Sharyn

I need to sync video to a computer that is recording audio for a live theatre production. I can send either midi time code or SMPTE time code from the computer. Three cameras are switched live using a video mixer. The sound will be remixed in post and a DVD will be made. What is the best thing to record the video to that will sync to the timecode sent from the sound computer? Is there a way to record directly into FCP using time code from the sound computer? Can a Firestore sync to the time code from the sound computer? This is for a high school, so the budget is limited.
thanks,
Will Abele

Okay, so I'm just a lawyer and obsessive video amateur.

I've got an idea for something that I think I could be of use to one of the
Discovery channels, and I've got enough well-produced material to provide 3
or 4 examples (I don't mean a demo reel, but full-length, fully produced
"pilots"). My projects are shot in SD -- HD isn't a possibility unless the
idea sells, in which case I would invest in HDV (but not HD) equipment.

I was wondering how best to pitch this -- would a DVD with a cover letter to
who ever does development at Discovery be the right approach, or would this
mark me as a hopeless amateur? I'd assume that, at this point, 3/4" is
obsolete. Do I need to get the projects transferred to Digibeta or
something similar, just for the purpose of pitching?

Any suggestions (other than, "leave it to the pros") would be appreciated.

Have read a post on these boards somewhere I decided to check this out.

Not much information on B & H site so I have a few questions (doing field work where power is inconvenient)

Teleprompter must be hooked to a laptop to generate the text, using the mouse wheel to advance text?

And without using the AC Adaptor one must have the battery pack to have the prompter work at all.

Once again thanks for the help

Jim

Hi

I'm trying to convert several reels of 8mm film to DV. I have an old projector (probably from the 60s, but it works), and I'm using a JVC GY-DV5000 to capture the video. I have the projector and camera set side-by-side, both focused on the same point on a screen mounted 12 feet away.

My problem is this: When I'm watching the video capture, the brightness dims approximately every 60 frames (two seconds on my timeline). It looks perfect for 30 frames, and then it fades out and fades back in. Does this problem relate to inconsistent frame rates or interlacing? Or is it a problem with my projector? I do have access to an HD110 if the problem is the former.

Any input is appreciated here. Thanks very much.

I'm finally making the transition into HD with the HDX900, but have a few questions about glass. If you could only have one lens, what would be ideal (fast, wide-angle zoom?) for 2/3" HD glass? What would be the most affordable solution without compromising image quality? I have heard of people using SLR lenses and a GG converter as a cheaper alternative to expensive 2/3"HD glass. Basically any advice is appreciated.

Thanks!

John DeLuca

For those who are packing away equipment for long-term storage, or are concerned with buildup of moisture in closed containers (including underwater camera housings), here's something I use a lot: Drierite.

A pound is about $8 or so, depending on where you buy it from. Here in Hawaii I get it from Hawaii Chemical on King Street near Middle Street. I store photographic equipment in large steel ammo cans and put some of this in there with it. Haven't ever had a problem with mildew on any lenses in two decades. Surplus steel ammo cans are cheap and have sturdy rubber seals which are waterproof.

http://www.drierite.com/default.cfm

Look for the "indicating" Drierite that is blue when it's working and turns pink when it's exhausted. This stuff can be re-activated in an oven by heating it up for an hour at 210° C or 425° F. It's reusable. And because it has its own indicator, you'll know if it's still working with a quick visual inspection.

You'll need to put the Drierite into some sort of container as the bottle itself doesn't work as a dehumidifier. Not unless you take off the top.

I use old translucent Fuji Film containers. A 3/8" hole is punched in the top. #4 mesh Drierite is loaded into the container. I then put a small square of paper towel over the opening and snap the top back on.

The hole I punched in the top will let the moisture get absorbed past the paper towel. The paper towel is there just to keep any dust from the Drierite from escaping out of the film container.

You know those big banners that you often see hanging on the walls in edit suites with the name "Avid" or "Final Cut Pro" on them? I'm not sure if banner is the correct word, perhaps "wall hanging". In any case, does anyone know where one can get one? Preferably "Apple" or "Final Cut Pro," but "Avid" or "Sony" or "Canon" would suffice ...