720P to 480i Beta SP Master; AJA IO

Hi,
I'm working with a 720P timeline and need to send it out to an BETA SP for mastering, I have a AJA IO and the AJA Kona 2, but the Kona 2 is only set through to the Digi Beta Deck and the IO to the Beta Deck. How can I get the 720P timeline to the Beta SP? Should I just send the timeline created into a new timeline as a nested comp, that is at the 480i settings? Or is there some other work around?
Thanks in advance

THe AJA I/O is an SD card, and you are trying to play out an HD signal...that won't work. Your best bet would be to plug the beta deck into the Kona 2. No amount of downconverting 720 in software will compare to what the Kona can do in hardware.
Or does the 720p timeline happen to be 29.97? It is a frame rate issue.
Shane

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Owb beta 3 / master detail mapping with sequence ora-00936 error

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Good afternoon "micwic",
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Use a Data Generator operator to provide information such as record number, system date, and sequence values.
For mappings with flat file sources, the Data Generator operator also provides a place to enter constant information. For mappings with Flat File sources and targets, the Data Generator operator connects the mapping to SQL*Loader to generate the data stored in the database record.
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RECNUM
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etc.
Good luck, Patrick

Field dominance? converting progressive to 10 bit uncomp for beta output

Hi,
I shot my film on an HVX 200 720p60 format. So the field dominance of my timeline is set to none.
I am now trying to convert this footage to 4:3 SD letterboxed by putting the QT file of the completed film into a timeline with settings 720x486, 10 bit uncompressed, 29.97. I'm looking to output the film to a beta sp master and I don't know what field dominance to set it to.
Thanks

Do you have a capture card? Not to be snide or anything, just asking. Because the cards have, in their interfaces (AJA control Panel for example) options for full screen and letterbox.
Shane

720p or 1080i

My TV supports both.
Which is supposed to give a better picture?
I can't tell the difference.
b.

Winston, I agree with you.
On old fashioned interlace sets, the 525 line sets, only 480 lines are available for the picture, the rest were for the flyback part of the signal.
A CRT uses two sets of coils, one vertical set and one horizontal set. The electron beam passes through the magnetic field created by the coils so that it scans back and forth across the screen. As it scans back and forth, it also moves up by the vertical deflection. The scan lines are slightly slanted. After 240 scans across the screen, the signal is blanked out as the beam is deflected back to the bottom of the screen. During the downward deflection, the horizontal deflection makes 22.5 more scans. this makes a total of 262.5 scans.
The next frame, which is actually the same as the first is scanned, but since the scan starts at the bottom center of the screen instead of the bottom left, the picture is painted a half line higher. So the 480i of analog broadcast is actually only 240 lines of resolution. All of this is based on a TV camera broadcast camera.
A film camera records 24 pictures per second. In a movie projector, each frame is lit twice so that appears to be at 48 frames per second. The 48 makes the picture steady, our eyes can't detect the flicker. 8mm home movie camera recorded only 16 pictures per second but home projectors used a 6 slot shutter to project each picture 3 times. The 3:2 pill down is a way to match the 24 pictures of a movie film to the 60 frame per second broadcast rate. One picture is shown twice, the next one 3 times.
Information on how 1080i and 1080p work is a little sketchy, but it appears that 1080i may only be a 540 line picture broadcast twice. If that is true, the 720p would be better than 1080i, and 1080p is better still. Right now, there are no 1080p broadcast sources. As far as broadcast TV is concerned, the TV will sync to either signal. Most TV shows and movies are broadcast in 1080i, but sports events are broadcast in 720p for more clarity.
I bought a 1080p set, not for now but for future changes. Since I only buy a TV about once every 20 years or so, I didn't want it to be obsolete too soon.

Motion playback on production monitor through AJA Kona LH card looks nasty.

Okay, so here's the deal.
We have recently invested in some shiny new things to equip an edit suite - a Kona LH card and a Production Monitor. Along with a Sony HDV/DVCAM VTR. Specs of our set up are listed at the bottom.
Pretty much all of the work we have done in the past has been non-braodcast - we're looking to improve workflow and quality of final output. We work mainly with Final Cut Pro, but also with Motion.
We have connected everything and have marvelled at how much of a difference it makes having a proper video preview from Final Cut (v. 6) as opposed to what we had before - firewire to camera to TV... Of course we were expecting this marked improvement.
We were also expecting the key benefit of a video preview output from Motion.
Now. We do get a video output through to the production monitor from Motion. But this is where it gets weird.
When we do a preview of an animation, it looks really shoddy.
As a test case, let's take a basic text crawl in Motion 3.
Static graphics look great, but when you play motion graphics, the image quality is really jaggy and nasty. (even at full frame RAM preview, best render settings, full res - all of these options are apparently properly selected).
So we did some test exports. Usually we would export animations in the Animation Codec, with an alpha if intended for compositing on top of a video track in FCP... we tried a bunch of different formats - animation, photoJpeg, DVCPRO 50, Aja 2Vuy, Uncompressed 10bit...
All these play from Quicktime on the computer monitor just fine, but when playing from the AJA TV app to the production monitor, again the same problem. And then when you bring them into Final Cut, the same problem, even when you match the sequence settings and field order to the source video ...
In effect, it seems that anything generated in Motion just doesn't want to look nice on our Production Monitor - even when imported into FCP.
HOWEVER - if you drop the Motion PROJECT into an FCP timeline, all is fine!
We know the AJA card and the Monitor are working because of this fact, and because when you generate titles from within FCP itself - the same text scroll, for instance, it looks perfect!
I have also found when working with old composited animations originating from AE that you can get FCP to pump these through to the production monitor beautifully when working in an uncompressed sequence setting - or in an Animation sequence setting. (For an Animation sequence to go the the production monitor from FCP, the Video Playback option in A/V Settings needs to be set to "AJA Kona 625i25 RGBA" instead of "AJA Kona 625i25 8 bit" or 10 bit).
The above point could be of relevance...? The only Video Output options from Motion or AE that apply to our setup and monitor are "625i25 RGBA" and "625i25 DV-RGBA" ... are we supposed to have more options?
In short, we could work around these issues - it just doesn't seem right however that we can't get a decent external preview from Motion. A big reason for upgrading our setup was faithful video previews of animations from these programs...
We also can't understand why exports from these animation programs can look so poor. I can export a video with a text crawl generated from a DV PAL Final Cut Project with DV Pal compression settings and it looks massively better playing through AJA TV than our test Motion exports.
It just isn't right.
Please help. Pretty please.
For reference, here are the specs of our set up:
Apple Dual 2.5 GHz PowerPC G5
4.5 GB DDR SDRAM
Graphics Card: ATI Radeon 9800 XT
Equipped with Kona LH Card
JVC TM-H1750CG Production Monitor fed via SDI (have also tried component, to no avail)
It just isn't right.
Please help. Pretty please. Many thanks in advance.
For reference, here are the specs of our set up:
Apple Dual 2.5 GHz PowerPC G5
4.5 GB DDR SDRAM
Graphics Card: ATI Radeon 9800 XT
Equipped with Kona LH Card (version 5)
2 x 23" Apple Cinema Displays
JVC TM-H1750CG Production Monitor fed via SDI (have also tried component, to no avail)

Sounds like you are seeing interlace artifacts - in Motion's project properties, have you tried setting the field dominance to None?

Final cut pro has no communication with aja

hi can anyone help me troubleshoot this
i am trying to digitize from a digi beta through an aja into fcp but fcp wont communicate with the deck meaning we have no timecodes? we can digitize
any ideas how to sort this problem?
cheers
simon

you need to connect a remote cable to the deck.
in the capture tool look art device control.
if it says Firewire Pal it means that the computer is trying to control your deck wit the firewire cable - if this is not what you want to be doing then FCP wont control the deck.
You should have a remote cable 9 pin coming from the AJA t the deck - select this option in th device control - think its called aja kona decklink.
then you should get control.
you may have to open/close capture tool and refresh devices.
Chris

Master data text and ods

can i load the master data text and ods parallely?

Hi Abby,
If your ODS contains a characteristic value of an infoobject and you want to load master data (texts and attributes) of this IO, you'd better load master data first (not in parallel), then transaction data.
You can do it in a process chain.
Such a sequence will prevent the possible ODS activation failure.
Best regards,
Eugene

Beta to DVD

I found a few discusssions that sort of addressed this issue, but I still have questions.
I need to capture several short PAL Beta tapes and put them on DVD with menus. The producer wants to keep the captured files for future use as well.
Here's my work flow:
Connect Beta deck to AJA io; capture to FCP-5 8 bit uncompressed. Then, I'd line it up in FCP and drop the sequence into compressor and convert to mpeg-2 pal for DVD (Using DVD Studio Pro).
I would save the 8 bit Uncompressed files to my Lacie Big Disk FW 800 drive.
Does this sound right? These tapes are 30 years old so is there a big difference between 8 bit and 10 bit - besides the size? For 8 bit using AJA, going through firewire, what is my "easy setup"? How much hard drive space should I expect for 5 hours of Beta footage?
Thanks!
G5, Dual 1.8, 2 gigs RAM, OS 10.4.6
Firewire 800 Lacie 500 gig drive
FCP 5 Studio
AJA io
Mac OS X (10.4.6)

Here's a payback reply for answering my last post
8-bit uncompressed with a Kona is about 20.3 MB a sec. I captured a 34 minute clip today and it is 41.4 GB in size. so you'd be looking at 450-500 GB to store 5 hours.
Oh and FYI, don't export your SEQ from FCP directly to Compressor. Make a QT reference movie by exporting SEQ as QUIKTIME MOVIE, do not select MAKE SELF CONTAINED. Save the reference file to a drive and then open Compressor and drag that file in. It will encode MUCH faster and free up FCP for other projects while the encode is being done.
JP

How do i install lion after having beta

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You will need to do a clean install, first back-up all of your data or clone your hard drive with carbon copy cloner. Then format (erase) your hard drive, then install Mac OS X 10.6,

720p24 to 1080i60 - best workflow?

Hello all - long time no type...
I have a long-form program that has been edited in DVCPRO HD 720p24 (23.98). I am getting ready to master this thing to D5. I have access to a Blackmagic Multibridge Eclipse, as well as a Decklink Extreme HD, and an Io HD. The deck is the Panasonic AJ-HD3700A.
I have heard that the most common standard for broadcast HD is 1080i60 HDCAM. My question is whether it's better to master in the program's native format at 720p24, or to try and upconvert to 1080i60 as I output. Some more specific questions:
If outputting to 720p24, is it better to use 24pN?
If upconverting at output, my thought is that the multibridge eclipse will be the most versatile and robust device for this, but how does the pulldown insertion get handled in this kind of workflow?
If I output to 720p24 and we want a 1080i60 dub made later, is this the kind of thing that can be done simply at a dub house without having to re-output from FCP?
If I master to Panasonic D5, will I still need a dub made if a station needs HDCAM?
Any expertise would be appreciated. Thanks.

You have the I/O HD...simply cross convert 720p to 1080i when you output. That device can do that...I believe.
If outputting to 720p24, is it better to use 24pN?
Doesn't matter. What are your SEQUENCE settings. That is what you will be outputting. If your sequence settings are 23.98, then that is what you will be outputting.
If upconverting at output, my thought is that the multibridge eclipse will be the most versatile and robust device for this, but how does the pulldown insertion get handled in this kind of workflow?
Sorry, the Eclipse does not cross convert 720p to 1080i...not even the Eclipse. This is why I stick with AJA Konas. I almost bought the Multibridge Pro until I learned this fact.
If I output to 720p24 and we want a 1080i60 dub made later, is this the kind of thing that can be done simply at a dub house without having to re-output from FCP?
Yes, but why do that? Just cross convert as you output. One tape...done. But if you do this, bear in mind that you need to find a place that has a Terranex to do this cross convert.
If I master to Panasonic D5, will I still need a dub made if a station needs HDCAM?
Of course. If you hand them a tape they can't air they will smack you on the head with the tape. You must deliver what the network requires.
Are you in the LA area? Contact Terry Curren at Alpha Dog in Burbank. Their "digital service station" is designed to take a file and output it to tape. And they have the Kona 3 that can do the cross convert....and handle the pulldown.
Shane

Workflow recommendations for SONY EX3/DV PAL 16:9/& a bit of AVCHD

Hi there,
I'm considering buying a SONY EX3 camera for an HD documentary project.
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What I'm not clear about though, is whether there are any disadvantages to a workflow that would see me doing this with 720P media in a sequence, and then outputting to PAL DV through either compressor or using the PAL DV settings through exporting a QT PAL DV movie for my SD work.
For example, are the render times working with 720P media slower than in a PAL DV sequence? What about the file sizes of the media for 720P 25 or 720P 50 - are they much larger than PAL DV? And say I wanted to use in the same project - some footage from a Panasonic GH1 camera which shoots in AVCHD, what would be the best workflow?
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as I understand it, the EX3 can shoot in 720P 25 (Progressive) and 720P 50 (interlaced)
720p25 and 720p50 are both progressive formats, neither are interlaced ... the former is a 25 frame per second format, the latter is a 50 frame per second format. If you are recording 720p with the intention to master to a PAL SD format (50 interlaced fields per second) especially if you intend to intercut it with interlaced footage, then I would recommend shooting 720p50 in order to achieve a more natural interlaced motion in your target.
are the render times working with 720P media slower than in a PAL DV sequence?
Yes. Quite apart from the fact that there are a lot more pixels to be manipulated, there is also the nature of the native XDCAM EX codec ... which is an MPEG2 based codec, and is far more computationally intensive both for decoding and encoding. However working with XDCAM in FCP can be alleviated by setting your render codec to Apple ProRes 422, or indeed by setting your sequence codec to Apple ProRes 422. You could also use a third party capture device such as a Matrox, AJA or Blackmagic card to capture your source footage directly into Apple ProRes 422 or other suitable intermediate codec.
What about the file sizes of the media for 720P 25 or 720P 50 - are they much larger than PAL DV?
Yes. First, 720p25 and 720p50 are the same frame size, being 1280x720. DV PAL is 720x576.
And say I wanted to use in the same project - some footage from a Panasonic GH1 camera which shoots in AVCHD, what would be the best workflow?
Your best bet is to capture all footage into a single intermediate format such as Apple ProRes 422 and then work natively in FCP in that intermediate codec.
Best
Andy

Upgrade APO 3.0 to SCM 5.0 SR2 (requirements in source system)

Hello!:
We want to do and upgrade upgrade APO 3.0 to SCM 5.0 SR2
And we have seen the Guides SCM5.0 SR2 and SCM5.0 SR3, but appears info in the page 26 only about check the software requirements from APO 3.0 to SR3, but we want to check the information about APO3.0 to SR2.
Regards,
Alfredo.

Alfredo,
This is not a easy question, since you are several releases behind on APO. I have done upgrade from APO 3.0 to SCM 4.1 and then subsequently to 5.0 so there were lots of learnings specific to the Projects and develoments. The Setup being different in different industries and companies, there is no one answer to this question. Try the following ...
- Read the Release Notes of SCM 3.1, 4.0, 4.1, 5.0. You will see a Host of New Functionalities - Newer in SNP, PPDS, TPVS, Master Data (PDS along with PPMs).
I do not know what functionality you are live with in APO 3.0.
On the Existing Setup that you may find changed, I remember the following big changes ...
- GUI Changes are galore in master data, less
- SNP Side - Changes in TLB Engine & TLB Prioritization.
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                 - Changes in User Exits (old code would not work). You will find this painfull if you've implemented User Exits. eg : If you were determining OrderTypes in orders sent from APO to R3. TLB User Exits. Lesser changes in Masterdata userexits.
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- Enhancements in VMI.
- Use of Parallel Processing for all Modules planning.
- Enhancements in Aggregated Planning
- Enhancements in Product Interchangeability.
- Several Newer Functionalities like ICH to make/replace the earlier Collaborative Planning better.
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Regards,
Ambrish Mathur

I bought a WD Caviar Green today

Now I have one WD10EADS 1TB HDD (linked by Firewire 400/800 dock, but my Mac is 400 only) and one Hitachi 159GB HDD(USB 2.0 direct link).
I partition WD off into two partitions with GUID? I hope I didn't do anything wrong? 'cause there are 3 options, the other two was something like "Apple Map partition"(I felt like this one better) and "Master Recode something"?
I chose first one, did I do it right?
OK, second question, so, now It seems to be 3 HDDs now.
They are 621GB, 310.5GB and the real one 149GB(Hitachi one)
What is the best way for Time Machine? I chose 310.5GB one.
But as you know, 310.5GB one is physically the same one with 621GB.
I put my music and important files to 621GB one. Is that OK?
and I was planning to use that 149GB one as another Mac OS 10.5 or 10.6
Can I do that? How?
So, What do you think I put up my HDDs this way?
Any suggestions?

Mauricette wrote:
Now I have one WD10EADS 1TB HDD (linked by Firewire 400/800 dock, but my Mac is 400 only) and one Hitachi 159GB HDD(USB 2.0 direct link).
I partition WD off into two partitions with GUID? I hope I didn't do anything wrong?
no, that's good.
I chose first one, did I do it right?
OK, second question, so, now It seems to be 3 HDDs now.
They are 621GB, 310.5GB and the real one 149GB(Hitachi one)
What is the best way for Time Machine? I chose 310.5GB one.
If you allocate 310 GB to TM and your work volume has 621 GB . . .
But as you know, 310.5GB one is physically the same one with 621GB.
I put my music and important files to 621GB one. Is that OK?
Its physically the same one, but not logically. Your TM allocation should be as big as the space you want to backup.
and I was planning to use that 149GB one as another Mac OS 10.5 or 10.6
Can I do that?
no. You cant boot MacOS off of USB
So, What do you think I put up my HDDs this way?
Any suggestions?
You should consider this setup, if you go ahead with it as temporary. Any backup should have its own device. What i mean is, if your time machine volume is backing up data from another volume on the same device, and that device fails i.e. your WDgreen fails, then your TM backup is worthless. And it will fail. Not if, but when.
When you say important files, how many GBytes are we talking about?
What i might do would be to partition the WD with one of the partitions as 149GB. Then i would use the external 149GB hitachi as a backup of that particular partition. Backup all changed files to it manually, or use Superduper to clone that WD 149GB partition to the 149GB hitachi once a week say.
Make sure you never fill your boot drive more than 70% full.
what the make of that FW400/800 dock you have now?

Creating a DVD that retains (most) of the quality of the 24p 1080 footage.

Hello all,
I have done extensive forum research prior to posting this and have, for the last two days, unsuccessfully created a DVD. I do wedding videography and I have been venturing out and wanted to try to use FCPX on my wifes mac. So, I imported all the footage from our Canon 5 and 7D cameras. Created/edited the entire movie on FCPX. This is where I am stuck.
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Here is my problem.
     I get all of the above done, just prior to importing to iDVD.
          Once the video (about 30 minutes long) is converted to 16:9, I lose all sound on the new file. I have beautiful, 1080i video, but no sound. Also, I have no idea how to figure out if the chapter markers are still there.
I am utterly confused and lost. I don't know if I am doing too many steps or too little.
I am a mac noob as all I have previously done was edit on iMovie and just export to iDVD using Best quality and it still came out at 480x540 which is godawful when trying to give a client better quality dvd.
I generally use Adobe CS6 on my PC, however this time I was short on time and did a quick transfer to the Macbook. I tried transfering the files back to the PC after switching them to AVI, had a major loss in quality so...I am stuck using the Macbook and either iMovie or FCPX...
I pray that someone out there that knows their stuff can walk me through what to do in order to get these DVD's done.
Ideally I want to get these mailed out tomorrow, but I don't want to mail out 540p DVD's. I at least want to get these things to 720p if not better.
Please help!
Thank you in advance.
Jason

First all, Karsten is quite knowledgeable about this subject, so I recommend taking any and all advice he offers.
Just to add a few comments that I hope will help.
Stirid wrote:
I noticed FCPX doesnt have native chapter markers like iMovie.
The latest FCP versions do have this.
               The next step was to use MpegStream to change the aspect ratio to 16:9 in order for iDVD to accept a better aspect ratio.
This is an unnecessary step. iDVD does have problems reading SD anamorphic files correctly, but it will get your 1080p aspect ratio (within a 720x480 frame, which is the DVD standard) right if you set up your iDVD project as 16:9.
          Once the video (about 30 minutes long) is converted to 16:9, I lose all sound on the new file. I have beautiful, 1080i video, but no sound. Also, I have no idea how to figure out if the chapter markers are still there.
You lose sound because Compressor outputs separate audio and video files, which need to be muxed.Although this can be done in Streamclip, it's again an unnecessary step. As Karsten said, iDVD just wants the original Quick Time and it does all the encoding.
You'll know if iDVD read the chapter markers if you preview and you see Scene Selection.
Good luck.
Russ

Converting to PAL Discs

I have been asked by a client to take an NTSC disc I made and convert it to PAL. It would seem to me that the best way to do this is to have the Beta SP master converted, then encode it to MPEG II with PAL settings. Then redo the DVDSP file with PAL settings and keep 0 region coding.
I was thinking I could convert it in FCP and then encode it with PAL settings, but this is not really the cleanest way to do it.
Am I right in my thinking?
Thanks,
Alex

Then redo the DVDSP file with PAL settings and keep 0 region coding.
You will need to redo the assets (menus etc.) to PAL settings.
Transfer from the Beta from a good house should get you the best quality, though Compressor (which is now better than earlier versions) and some plug-ins (such as http://www.nattress.com) can do a very nice job, you may want to run some tests.
As an aside, where PAL is common (ex-U.S.) many people can play NTSC discs (as oppossed to in the U.S. which is more hobbled). In fact when speaking with some people ex-U.S. they thought NTSC masters were okay and not even bother with PAL. Go figure.

720P to 480i Beta SP Master; AJA IO

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