IBC AJA Video news
 

At IBC 2005, AJA will show five converters and the Io Control Panel for
Io, IoLA and IoLD for their first appearance at IBC. Several of the new
converters are AJA's first audio converters.

Io Control Panel application enables direct, standalone control of Io,
IoLA or IoLD from a simple OS X interface on the PowerMac. This allows
the use of the Io as a standalone A to D and / or D to A video converter.
In addition the control panel features extensive Proc Amp controls as well
as the ability to disembed or embed audio, which adds a tremendous amount
of value, considering the price of other products with these abilities.
Its Proc Amp capabilities include adjustment of hue, saturation, video
gain, and black level, output timing horizontal or vertical, genlock settings,
and analog audio level control.

HD10AM-HD/SDI Dual Rate 8 Channel AES Audio Embedder/Disembedder. The Disembedder
is always functional, providing 4 AES outputs. The Embedder is user selectable,
on a channel pair basis, to either "pass" SDI input audio or to embed input
AES audio. AES inputs are sample rate converted to a 48Hz rate synchronous
to the video output. Input video standard is automatically detected and
configured.

HD10AMA-HD/SDI Dual Rate 4 Channel Analog Audio Embedder/Disembedder. The
Disembedder is always functional, providing 4 Analog audio outputs. The
Embedder is user selectable, on a channel pair basis, to either "pass"
SDI input audio or to embed input analog audio. Analog audio levels are
selectable. Input video standard is automatically detected and configured.

ADA4 4-Channel Bi-directional AES/EBU Audio A/D and D/A can be configured
as a 4 channel D/A, or 2 channel A/D and 2 channel D/A. It can accept a
Wordclock or video sync/color black reference input for synchronization.
Reference input and synchronization are automatic.

HDP4 HD-SDI/SDI to DVI-D and Audio Converter converts HD-SDI/SDI to DVI-D
for LCD/Plasma monitors and provides 4 DVI-D and audio outputs. Its built-in
high quality scaling engine automatically sizes 4:3 or 16:9 inputs to many
DVI-D monitors. For appropriate monitor configurations, scaling is automatically
1:1.

D5PSW SDI/ASI Protection Switch is a low-cost, dual SDI/ASI input protection
switch with 3 SDI/ASI outputs. It can be used as a repeater and/or DA.
Its multi-color LED indicators provide instant status.
###

How to make dvx 24p footage with motion effects have 24 fps motion and conform to ...
 

Hey all -

Well the super16mm film I'm assistant editor on is winding down but I have an interesting problem. The production has wrapped on principal photography but the director has shot broll for a montage sequence on a DVX100 in 24p mode (not 24pA, just standard 24p). My task is to build a little montage scene ala the show 24 with moving boxes etc. inside of FCP.

1. I assume I'll need a seperate project for this montage as my 24p footage is 29.97 and my movie is in native 23.98?

2. Should I create the montage normally in a seperate 29.97 DV project and just know that my videoish movement of the boxes will eventually be film-like when it's all transferred to 16mm?

Apple strong in European post production
 

http://www.forbes.com/markets/2005/0...markets03.html

exporting error mysteriously disappeared
 

hi,
I was exporting from FCP 5.0 using export to Quicktime. I was continuously getting "general error" messages when exporting. I am exporting rough footage to make a DVD to send to someone for some location clearances for my film. I have a simpple sequence of sequential clips on V1. I put "lower third" titles over them to indicate the location of the shot. I put them all on V2. I deleted all the titles on V2 and the sequence exported with no problems. I am happy to have it exported, but I'm curious as to why the titles were causing exporting errors. any ideas? thanks!

Edit mpeg-2 natively in FCP5?
 

Hello everyone. I'd like to purchase the JVC Everio MC500 which records video in mpeg-2 format to Microdrive in files renamed to .mod. I've learned that the .mod files are simply mpeg-2 files renamed and if the file extension is changed to .mpg the files play with various players. My question is: since FCP5 edits HDV's long GOP mpeg natively- can I assume the standard DVD type mpeg-2 type of mpeg can also be edited natively within FCP5 without transcoding?
I'd like to edit the mpg files the Everio produces without transcoding or converting to preserve the video quality. I can use MpegStreamclip to convert to .dv but I'm assuming I'd get a quality hit- I'm trying to preserve the quality the Everio outputs in their .mod files.
So, can FCP edit mpeg-2 files natively- if so what sequence preset should I use or custom setup?
If not- what would you guys suggest as a workflow to edit the .mods to mpeg-2 then to a codec to use in FCP5?
Thanks guys- I know this question is a doozy!

Viewer not showing
 

HI all,
I recently installed a friend's FCP4 on my 15" 2gigs ram powerbook. I guess it is a cracked version (that I only want to try, I'll get and pay for the original as soon as I understan if FCP works for me).
the problem I have is the following: when i double click a clip in the browser the clip (or the first frame of the clip) is not shown in the viewer. It actually is there because it is shown as soon as hit the spacebar or the L or the play command.. strange.
The clips I'm having problems with all come from a long clip captured with the "capture now" command and splitted with the "detect start stop" option in the mark menu. May be the problem depends on the way I captured the footage?
thanks for any help
pietro

FCP HD & M-Audio FireWire 410 Problem
 

I was wondering if anyone else with both Final Cut Pro HD and the M-Audio FireWire 410 audio interface have experienced errors in their playback to an external preview monitor.

With the FireWire 410 plugged in, my preview monitor will flicker black and gray while playing back. (The preview monitor is plugged in via S-Video to my DSR-11 which is connected to my G5 via firewire). When I stop scrubbing the playhead it will flicker gray, then load the image fine. All of this is solved by unplugging the FireWire 410.

Does anyone have an environment with both FCP HD and the FW410 working in harmony?

Also, when I use my FireWire 410 in Soundtrack Pro there is a metronome like clicking noise in the audio I record... Anyone know what that might be?

Stream Code error during capture?
 

Hello everyone.
I'm having trouble batch capturing using FCP5 with the JVC HD10U. In the capture window it spools up and seems as if it's going to capture video- it then displays a message stating there's a "Streamcode Error" and that the clips can't be captured......anyone ever hear of this or know a fix?

I never got this message when using the Sony FX1- only the JVC keeps causing these errors....I'm at a loss for geting the clips into FCP5!!!
(The timecode is steady and seems continous- there are no detectable pauses anywhere???)

16:9 on a 4:3 screen
 

Hello to all,

This is something I see a lot here: How to convert (or play) you 16:9 footage for a 4:3 tv.
Mostly people write: How do I make my 16:9 footage anamorph for a 4:3 tv?
That question is incorrect to begin with: 16:9 footage IS anamorph (exept HD)

Anamorph means: you record a 16:9 signal (from the camera chip) as a 4:3 signal on the tape. You camera will squeese your 16:9 signal to a 4:3 signal.

This is not only with DV, every other standard definition format (DVCPRO, Betacam, IMX, etc...) is recording its image on a 4:3 signal.
So every Standard Definition format records its 16:9 footage anamorph (16:9 image squeesed to 4:3)

HD is the only format that records reel 16:9

How you know this is true: When you have captured Standard defintion footage (DV, Betacam, IMX,...) 4:3 or 16:9 (anamorph) does not matter, when you open that video file with quick time, it will allways be a 4:3 image.

When you captured 16:9 footage you will also see a 4:3 image, because it is anamorph (your 16:9 footage is squeesed and recorded as a 4:3 image)

When you have captured HD footage (HDCAM, DVCPROHD, HDV, XDCAM HD,...) and you open this file in quick time, you will see a true 16:9 image (HD records in true 16:9 without squeesing images)

(I'm repeating a lot, but I'm gooing step by step so everything is realy clear)

HOW TO WORK WITH 16:9 FOOTAGE IN FINAL CUT PRO

Lets forget about HD for now, suppose we recorded and capture in Standard def.

When you capture footage (on any system) you write a couple of things in to the file: audio, video, time code and other information.
some of that other information could be if it is 4:3 footage or anamorph (16:9)

If you are working with 16:9 footage choose in your capture presets: DV NTSC (or PAL) 48khz Anamorph
(Choose the same for your sequence preset, because your capture preset, and your sequence presets have to be the same) YOU CAN ONLY EDIT IN A SEQUENCE THAT HAS THE SAME PRESET AS YOUR CAPTURED FOOTAGE (Unless you render first)
When you chose that capture preset (DV NTSC 48kHz Anamorph) Final Cut Pro will capture your footage as a 4:3 squeesed image file, but ads that little info to the file that it is 16:9 anamorph.

As said earlyer when you open that videofile (not in final cut pro but in you folder: "capture files") it wil show as an 4:3 video file, because it is captured that way (it is Standard Def video)

Now when you open this video file in your project, final cut pro wil read that little "info" in the file that says: This is anamorph video, and it wil play that file back in a 16:9 aspect ratio.

You could think of it like this: whith anarmorph video (and sequences), final cut pro thinks 4:3 but plays it back in a 16:9 aspect ratio.

IF YOU WANT TO PLAY BACK 16:9 ON A 4:3 TV

Sinds 16:9 is a squeesed 4:3 image, that is the way your camera sends it to your TV via your cable (as a squeesed 4:3 image)
So if you play this footage on a 4:3 TV you will se a squeesed 4:3 image

What you need is:
1: A 16:9 TV. This TV wil squeese your Anamorph 4:3 image to a 16:9 ratio.

or

2: A 4:3 TV that has a function to Squeese to 16:9 ratio. (most new 4:3 tv's have this)

But what is your 4:3 tv does not have this function?
Well you can do this in Final Cut Pro.

My first advice: DO THIS IN THE LAST POSSIBLE FASE.
If you are working with anamorph video: Capture, edit, and print back as anamorph video.
Allways print your movie to tape as anamoph video if you want to store that tape (it is how you filmed, how you edited, so you schould save it that way)

If you want to play back your 16:9 movie on a 4:3 tv, we have to make an extra tape that has a 16:9 image in a 4:3 image, not squeesed (anamorph)
You want to put an 16:9 ratio in a 4:3 ratio (without squeesing)
Because a 16:9 is much wider than 4:3, and if you place a 16:9 image in a 4:3 image, you wil be left with black bars on top and bottom of the image.
This way you will see 16:9 (in the correct ratio, not squeesed) on your 4:3 tv. This image (widescreen in 4:3 with black bars is called LETTERBOX)

So the question would be: Hou can I play my 16:9 footage LETTERBOXED on my 4:3 tv?

FINALLY: HOW TO LETTERBOX YOUR 16:9 IMAGE IN FINAL CUT PRO

Actually, this is verry simple:

You have been capturing and editing in Anamorph video.
We now want to Letterbox our anamorph (squeesed) sequence in a (unsqueesed) 4:3 sequence.

So first: Change your sequence preset from "DV NTSC 48kHz Anamorph" to a non-anamorph preset, beïng: "DV NTSC 48kHz".
Dont worry: This wil not change your sequence you have been editing in, it only has effect on the next sequence you create.
So this is what we are gonna do: we choose: file ---> new sequence.
When you open this sequence you will see that is has an 4:3 ratio.
Now in your browser, look for your anamorph sequence that you have been editing in.
Now simply drag the sequence (dont open it) into the timeline of your new 4:3 sequence. Now you wil see that your intire sequence is letterboxed in a 4:3 image.

But: you can not play this sequence back yet, it wil say "unrendered" and you will see a red renderbar above your sequence. why is this?

Well remeber I said earlyer that your capture and sequende presets have to be the same?
Well now you have put a anamorph suquence (and its captured anamorph video) in a normal 4:3 sequence. So the presets of those two are not the same any more. So all you have to do is render your new sequence, and you can print your letterboxed film to tape!

I hope this will answer all your questions about 16:9 and anamorph video.

Greetz,
Tim

DON'T FORGET:

ANAMORPH = 16:9 image squeesed into a 4:3 image
LETTERBOXED = 16:9 image in 4:3 image, not squeesed (black bars top and bottom)
Allways keep working anamorph on to the last fase. Archive your project anamorph, only letterboxing for display on 4:3 tv.

Stream Error Detected?
 

I'm using a JVC HD10U with FCP5 and am continously getting "Stream Error Detected" messages during batch capturing and can't get my clips captured. Has anyone experienced this or know of a workaround?
I'm at a standstill and have no way of getting my HDV clips into the project. If anyone knows anything, please leave a comment.
Thanks everyone.

(Note: Timecode is continuous- no breaks apparent. FCP warns the media could be faulty but I'm using new Sony DVM60ME tapes and doubt the tapes are the culprit. I'll try a Panasonic tape tomorrow- if anyone has any info, I'd be interested in hearing it. Thanks again.)

pvcproHD and FCP5
 

Any info if those are compatible. Can I just stick my P2 card into the Mac and start edditing?

Trouble Capturing XL-1 Footage Via DVX100a
 

I've got a ton of behind the scenes footage (10 tapes or so) that was shot on a rented XL-1 that I am trying to capture to FCP5/G5 using my DVX as a deck. Capture aborts within seconds on all of the tapes. Capture works fine with tapes shot with the DVX, so I don't think it's a system issue. I've tried using Capture Now for the whole tape as well as using in and out points at various spots within the tapes shot on the XL-1. Nothing is working. I assume it's either a compatibility issue, a setting I have wrong or bad tapes. As these tapes came out of the same box as those used in the DVX, which are capturing perfectly well, I'm inclined not to blame it on the tapes. FCP is already set to ignore timecode breaks. Any idea as to what might be going on? Suggestions would be greatly appreciated.

Thanks, Lain

Exporting for the web
 

Someone wanted to see a sample of my work over the internet. I used FCP compressor to export as .mp4 which says is compatible with quicktime 6. But he wasn't able to view it.

So I need a format he can read that is realively small (2-10 mb) its only a 30 second clip.

Tiger Migration broke Voice Over from Built-in
 

FCP 4 HD Voice Over worked fine on Panther using Built-in audio. I installed Tiger on new partition and migrated from old volume as per successful reports here.

Now, FCP 4 HD Voice Over utility does not work when Built-in audio is selected. DV audio input works fine. Other audio utilities capture from the Built-in audio input just fine. Only FCP built-in audio is broken. I am sending line level audio from a mixer. I don't see any way to control Line vs Mic level anywhere.

I posted to FCP discussion on Apple.com but no help.

Stereo??
 

Hi everybody,
I'm editing some of my footage from a recent shoot and the audio tracks in the timeline are stereo like they should be, I can tell from the waveforms, but when I play it back it sounds like the same thing coming out of each channel and the two audio metres in FCP are both moving the same when one channel should be a lot louder. Is there a setting somewhere I have to change?
TIA
Nate

Free file hosting
 

Someone suggested a file hosting site a while ago can't seem to find the post. Any suggestions, I want to post 2-4 mb quicktime commericals for clients to preview.

(mod: i didn't know what forum to post this in)

Fixing Gain-GRAIN in FCP5
 

I shot some footage with an overdose of GAIN on an XL2. This produced a some very grainy visual footage. I dont have the option to reshoot. I was wandering if any one knew of some tricks to hide it or fix it completely through filters and such in FCP.

I might have to just go for an old-school black and white filmic look. But Id like to save the color if I can.

Really Quick capture question for SD footage...
 

Hey all. Well, I have to start capturing for this documentary project and there's around 35 - 40 hours worth of footage shot in HDV (we're capturing at DV converted off a Sony HDV deck) and DV from a dvx100a (24p footage) and we have a single 500 gig graid fw drive to work on. We need the best quality SD that we can use with our given storage. Is the best route to just use the default DV25 capture in FCP5 or is there a step up, or a little tweak that would still allow us enough storage room on our 500 gig drive (obviously 8 or 10 bit SD will take up far too much space) or is dv25 the same quality that our signal is being sent at therefor rendering any higher grade in SD to work with pointless? Thanks!

Academy Leader
 

Hey,

Does anyone have or know where I can get an Academy Leader? Basically it's the countdown.

I'm wondering if some editing systems, like Final Cut, provide them. Anyone know?

Thanks,

Josh

Music problem in FCP 5.0.3
 

I grabbed an AIF off a CD and imported it into FCP 5.0.3, which I just downloaded, and about 10 seconds in, the song "lags," if you will, for 3 seconds. IS this an FCP 5.0.3 thing or something? I'm also cutting in 1440x1080i HDV.

heath

Time Code XL series GL 2 on FCP
 

Ok so i was posed two different questions tonight to which i thought i knew the answer so i'm just checking with the experts

1) Is it possible to batch capture on the xl1-2/gl2 series? My initial thoughts on this is no, as even if you stripe your tapes, these cameras will write their own timecode over and when you power down/up your camera again, the timecode resets itself- therefore when u batch capture the settings don't match as it keeps resetting- am i right or is there a workaround on this?

2) EDL on FCP- i was asked if it were possible to create an edl list and then import it on FCP and then capture via that way- to this i had no clue as i've never created one from scratch and wouldn't know how- anyone here have an idea? thanks!

FCE 1.0.1 Crashing ?
 

I have FCE 1.0.1 on my Powerbook G4 and for some reason everytime i use a ctrl-k (keyframe) or a command shortcut it just quits my FCE. I have tried deleting the prefs and reinstalling with no success. Anyone have any other idea

Disk Utility stopped while verifying permissions
 

I just upgraded to OS10.3.9 and Quicktime 7.

FCP 4.5 still seems ok so I thought i better Repair Permissions but I couldn't and got this msg:

Disk Utility stopped verifying permissions on “Startup HD” because the following error was encountered:

No valid packages
-----
Verify permissions for “Startup HD”
Error: No valid packages (-9997)

Permissions verification complete
_____________

i don't know if its a result of the recent update or not as its been a few months since I last repaired permissions.

Any ideas?

thanks

FCP best broadcast output?
 

Got my 90min. documentary, finished with soundmix and titles, on a 4:3 DV PAL sequence. (Was shot with XL1 PAL, some people asked me if it was HD or 16mm). Now I want to make a digital master and a tape master, thinking in these distribution forms: 4:3 digital projection, TV, DVD. Going to 35mm only a remote possibility.

I tried putting out some sample QT movies: a DV PAL one and an Uncompressed 10bit one. The last one keeps text completely clean and even "improves" the DV somewhat. The DV one is just DV, with fuzzy text and all.

1. I obviously want to master in the best possible quality. Is this Uncompressed 10bit? Is it too much?

2. What tape format do you recommend for mastering? I'm thinking DigiBeta.

3. Is an Uncompressed QT movie ok to take to a post house and have them lay it on DigiBeta?

What is the FCP song on Apple Demo?
 

I recently bought Final Cut Studio. I saw a demo at CompUSA that had a really cool song. It was fast paced and had the lyric "...it's a woderful life..."


Does anyone know what song this is?

I would like to download it from iTunes.

Thanks.
Shawn

ComputerWorld Quad G5 review
 

http://www.computerworld.com/softwar...106263,00.html

magic bullet editors v2 problems with fcp / compressor
 

hi everyone. i am having major render problems with magic bullet editors v2. when adding the look suite filter in fcp, the clip shows black & white (regardless of what look i give it) unless i uncheck "use gpu". so fine, i figure my gpu is not supported for realtime. i uncheck it and everything is fine.

HOWEVER, when exporting to mpeg2 using compressor, the preview shows up as black & white, and the mpeg2 file created is black & white.

anyone seen this before? please help!

thanks in advance.

Using Mattes in FCE2
 

Just for fun a shot a silly short with a character sitting in a chair underneath a portrait of herself. The portrait is actually video and comes to life, and chaos ensues. I was first going to do this using greenscreen material inside the picture frame, but then decided I could do the same thing using a 4 point matte to cut out the picture so the video underneath could show through. I thought this would be cleaner than greenscreen.

This works, but I realized after the fact that if the "real" charactor moves in front of the picture frame, she is cut off by the matte (duh!). Short of re-doing this with a green screen picture frame, is there anything I can do to salvage the shot with the matte? I've heard about something called a "difference matte"; what does that do? There are only two points in the movie where she crosses in front of the picture, for about a second in total, but it obviously ruins the illusion. Thanks!

FCP 5 & HVX200: DVCProHD/50/25 - Easy Set Up Options
 

Just trying to limit unpleasant surprises here.

Under the "Easy SetUp" menu in FCP 5.0.3 I see the option for:
DVCPRO HD - 720p24

What I don't see are options for: DVCPRO 50 & DVCPRO 25

Should there be settings for DVCPRO 50 & DVCPRO 25, or would it all just fall under the DVCPRO HD - 720p24 setting?

I realize this may not be a question that can be answered until the HVX200 is available, and we are actually editing footage from it in FCP 5, but I felt really bad for all of the folks who got the JVC HD100 and then quickly found there was no HDV 720p24 setting (and to date... still isn't).

Soundtrack Pro Error
 

Anyone run into an error message when trying to open a previously saved multitrack project? It says error in opening file, try again...
I haven't touched any of the root files.

Horizontal smear
 

Hi everyone

Just wondering if you get the same effect; I have a JVC GY-HD100 and when ever I fastforward when I'm in the capture window of FCP on 720p I see a pixelated streak/line. You know, when you fast forward your footage, everything becomes pixelated and then every 7 seconds or so a streak would come up, is it normal? is it a drop out? is it my tape?
Anybody had that?

Sound was off
 

Has any one had this experience ? I use Mac G-4 with GL2 as a play back deck and FCE. After dopping the video back to the Camera the sound was off on one of the clips and only one. I checked it out on the computer and the computer clip was not off ???????

old film to dv with sync issues
 

Hope someone can explain this problem.

I transfered an old film I did on 16mm that I never edited to Dv cam. The audio was recorded on a pro nagra reel to reel deck and I also transfered that to dvcam.
I am using FCP 4.5 and and have imported the audio and video separately as NTSC dv.

I shot the film using clapper sticks and when I sync clap sound to picture the audio stays in sync for several seconds then goes out of sync.

If anyone can explain to me why this is happening I will greatly appreciate it.

SIIG Firewire 800 PCIe card not G5 Quad compatible - yet
 

(Note: I wasn't sure which forum this should go in and since this deals with Mac NLE's this seemed like the most logical place to put this)

I have a new Quad-core G5 w/5 external Firewire 800-speed drives (OWC Mercury Elite Pro Aluminum). I was originally going to transfer the LaCie Firewire 800 PCI card to the Quad from my Dual 2.7 but the Quad uses the newer PCIe slots so of course it won't fit.

I purcashsed directly from SIIG their PCIe Firewire 800 card (2 ports 800, 1 port 400) that is labeled as Mac compatible on their website. However, my Quad will not boot when drives are connected to the card.

I called SIIG tech support. The answer: "We don't have a Quad G5 to test our cards with, so we have no way of knowing the compatibility...". They just issed an RMA so I can return the card.

LaCie will be releasing their PCIe card in January but until then there is no PCIe Firewire 800 card available that is G5 Quad compatible.

For those wondering why this is such an issue:

The internal G5 Firewire bus controls both 400 and 800 ports, and is only as fast as the slowest device connected to it. The only way to avoid having faster 800 speed devices pulled down in speed is to have them on their own separate physical bus, which means installing a PCI Firewire card. Without an available card, that means that all my 800 speed drives will never see anything faster than whatever my Sony deck is connecting at, which is probably less than 400 speeds.

FCP 5 system settings dvcpro50 24pa and dv
 

I shot with the sdx900 for the first time and upgraded my system to fcp 5...thinking life would be great. But now i cannot capture any video.

Has anyone figured out system settings for the AJ-SD930BP and FCP 5 over firewire? (the rental house gave me this deck instead of the AJ-SD93)

Thanks for any suggestions!
ch

horrible image that is flickering and wavy
 

My system is a G5 2.3GHz DC with a KONA LHe which I bought recently. When I try to monitor my FCP timeline on an external monitor through the KONA card, it gives me a horrible image that is flickering and wavy. I've tried plugging the cable into both a consumer and a LCD screen using downconcert composite and component but it still does the same thing. Does anyone have the same problem? I'm working with HDV 1080/50i footage and I've checked all my sequence settings are correct. Please help!