Can I output to Digi beta on 4 channels of audio discreet?

Network requires program on digibeta with stereo on 1 and 2 / mono split track on 3 and 4. Will FCP allow me to do this in one pass?
Normally I would have to print my stereo tracks with the video on one pass
then go back and insert discreet tracks on 3 and 4 as a second pass.

Hi. I had to learn how to do this under pressure recently. It wasn't as intuitive as I would have hoped, I haven't had the repetitions necessary to know it by heart, and I'm not near a system that is connected to a deck.
What I do remember though is Command-Zero for current sequence settings, Audio Outputs tab, select four channel audio in the drop down menu. Make output channels 3 and 4 mono.
It is important to remember that you are setting these output tracks for you current sequence only. If you want to make a reusable output setting go to Final Cut Pro > User Settings then the Audio Output tab.
In your timeline right click on your audio tracks (different from output channels - very important distinction) and assign where the track will play out. Right click near the lock but not on it, on the left side.
I went to Help>Final Cut Pro User Manual, then typed "edit to tape" and read everything. I learned a lot and avoided many, many traps. Probably saved me hours and hours of time in the long run.
Best of luck.
Tom

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I'm trying to edit to tape (insert) a programme. The clock drops in on exactly the right frame but by the time I get to the end of part there's a 2 frame difference between my timeline TC and the master tape's TC. In other words my timeline ends at 11.30.00 but when I play back the recorded tape the same frame is now 11.30.02. Is there a) an explanation for this and b) a solution? I need frame accuracy as I'm exporting my audio to OMF for the dub. Any advice hugely appreciated. Thanks. J
Digi Beta - Uncompressed 8 Bit - PAL.
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Jeremy,
Wish I could offer more help other than to say Blackmagic is usually pretty quick with a fix once they identify there is a problem. We're in Sydney, and had some problems with dropped frames a couple of years ago, and they did some very quick testing and realised that they hadn't tested there new drivers with Batch digitise - point is, they issued a fix (updated driver) extremely quickly.
Go through your supplier and see if you can get their ear, especially if you can identify the problem happening consistently.
Tim

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hi i have just purchased a Sony dvw m2000p digi beta deck and need to export my movies to the deck. we are using premier pro sc5.5 and want to know what capture card to use. can you help.
regards,

I will start by saying that I have never done an export to tape but my Blackmagic Studio card has all the correct outputs for working with tape.

Digi Beta master

Hi All,
I have a project in final cut that has to be submited as a Digi Beta master.
How do I go about doing this?
Thank you.

A fully fleshed out how-to could easily be a book chapter or even a section with several chapters.
If this is a once in a while thing for you, and you don't have a background with broadcast tape decks, I do not suggest you take this on, unless you are prepared to spend days prepping and getting the output right.
You are probably better off taking the digital beta output to a post house, as others have suggested.
By way of explanation, here is an outline of the steps:
1. Research and buy the card. Black Magic Design Decklink or AJA KONA. You will want to output SDI with embedded audio. Between $1500-$3200.
2. Install the card with the correct version of the drivers for your version of FCP, Quicktime, and OS. The support pages on their websites are OK, call them if you need help. AJA has a better reputation for support, Black Magic Design is a little less expensive to purchase.
2. Test the output. You will want an external video monitor that takes SDI input. This will allow you to confirm you have a video signal. You will also want to test your audio output. The most convenient way to do this is to embed the audio in the SDI. This means you just need one coaxial cable with BNC connectors to carry the signal from the card to the deck. You can do it other ways however. For testing purposes I usually confirm I'm seeing the analog audio outs, as I don't own AES monitoring, or de-embedders.
3. Rent the deck. DVW-500 or DVW-2000. About $525 a day. Allow yourself extra time (like an extra day or maybe two) if you haven't done this before. Rent from a house that will give you a hand with menu settings, etc. Plan to spend a lot time figuring things out.
4. Black burst. When ever I'm mastering to a deck I provide a common sync source to the card and the deck. This might not be strictly necessary, but it eliminates something that any trouble shooter will ask you when you call. You can get an inexpensive black burst generator for about $350. Run BNC from the Black burst generator to the sync input on the card and the sync input on the deck. Set the deck and the card to get their sync externally.
5. Connect the SDI out of the card to the SDI in of the deck.
6. Connect audio cables, if you choose not to embed the audio.
7. Connect speakers to the deck. XLR out of the deck to self powered speakers or to an amp. Make sure you can monitor all the deck's channels individually.
8. Connect a video monitor to the deck. I like to take SDI into one monitor input, and composite with TC overlay into a second monitor input. I monitor SDI for quality, and TC overlay to confirm timing and edits.
9. Set the deck up so it is ready to accept your audio. You need to decide if you will be sending analog, AES, or embedded. You need to set the deck up to take your choice.
10. Stripe the tape with appropriate time code. Start at 00:58:00;00. Use drop frame (probably, ask the people you are delivering to.) This involves understanding how to set internal time code on the deck. Read the manual for your deck. I usually feed black out of the card and crash record a the head of the tape. Get it going and come back when it is done. You will probably have some trial and error here if you haven't done this before. Stripe as many tapes as you will need (typically one back up to send, and another back up to keep in house.)
11. "Facs" (short for facilities check) the deck. Send Bars and tone from FCP. Set your tone to -20 (probably, ask the people you are delivering to) and set the record pots on the deck so they are seeing -20. Confirm bars are passing through the deck in EE (electronics to electronics – sometimes called bypass.) Set the audio tracks in your timeline to go to the correct tracks on the deck. I do this while the deck is in EE. I check this by sending one channel of audio at a time and confirming that it is only going to the corresponding channel on the deck. Be prepared to spend some time in the FCP manual to get this correct.
12. Read up in the FCP manual on "Edit to Tape." This is important to understand. You will probably want to use the mastering method, but it is important to understand inserting as well. This will save you time if you need to pick up the edit mid-stream or drop a last minute change into the tape.
13. Tweak the settings in FCP so your edits land on the correct frame. The FCP manual covers this.
14. Record Bars and Tone and Slate to tape. As per delivery requirements.
15. Start your program at 1:00:00;00.
16. Leave room for commercials or breaks, as per delivery requirements.
17. Watch and listen to the output of the deck as you record. Watch for problems.
18. Check the record. Playback your work so you can be sure it is all there.
19. Make a second copy if it is required for delivery.
20. Make a copy that you keep in-house. In case something terrible happens when you ship the tape.
If you aren't going to do this very often, you will save yourself a lot of pain by hiring a post house or an editor with the right background and equipment.
If you do decide to give it a try expect problems, and be prepared to spend a lot of time in the manuals for FCP and the deck. Also be prepared to call the card manufacturer if you have problems during the set-up. Try not to get frustrated – this is not easy unless you do it all the time.
Good luck.
Tom M

How can I output up to 7 tracks simultaneously?

Hello esteemed GB community.
I have to create a little effect for an upcoming party. For this I need to output the following:
- at least 4 separate audio channels (stereo front and stereo rear)
- one mono combination of these four tracks (to drive a Light organ gizmo - makes the light flicker with the audio)
- and finally one separate track on which I will put pulses to trigger a relay for a fog machine.
Setting up these tracks in GB should be fairly straigth forward (although my GB experience is very limited I've done a fair amount of audio mixing in FCP - which I imagine is similar) but my question is, how can I output all these tracks so I can feed them to their respective recipients? This means to two stereo setups for audio (or would it be easier to do 5.1 Dolby - $$$ ?) and then to the light organ and to the relay trigger for the fogger.
I did a search for multitrack but most answers I found dealt mainly with input, not output. I imagine this will require some kinid of an external box, right?
Budget for this box is very limited, hopefully less than $200. Quality does not have to be very high although a good bass response will be important for the effect.
Thank you very much for any help.
Bo

Thanks for your help, HT. Would Logic be a better choice than ProTools LE for this? (I know next to nothing about them I must confess...)
I was just thinking, in the worst case scenario, I could just create the 6 audio tracks in GB, then output three stereo mp3 files (stereo front, stereo rear, 2 control tracks), dump each on a separate cheap mp3 player and get a controller that can remote start all of them at the same time...
Does anyone know of such a cheap mp3 player that can be remote started via a wire connection to a relay? Is there another forum that deals with this kind of issue?
Thanks again.
Bo

Capturing from Digi-Beta or Mini-DV

Our first two projects were supplied to us on Digi-Beta, but for ease (we don't have a Digi-Bet deck) we had these transferred to Mini DV which we then captured into Final Cut Pro using the DV preset.
Does anybody believe there would be a significant improvement if we were to hire in a Digi-Beta deck and capture direct at full res (we'd probably need a RAID for this?), and then export to DVD Studio Pro?
Considering how compressed DVD/MPEG2 is, we'd be interested to know if there would indeed be a discernible difference in picture quality/sharpness.

You'd need a Raid or at least a firewire 800 drive which can play back a single track of 10 bit.
I would think a mpeg created from an original 10 bit media source would look a little cleaner than a dv dub of that source. How much cleaner? That would probably be up to your to decide. I'm sure one of the more tech oriented guys could say what the exact difference could be...
I bring dv in as 10 bit from an original dv source because I do lots of filters and graphic stuff. To me, even dv brought in at 10 bit looks better than dv brought in at dv, but different people have put up engineering specs to show that there is not a discerenable difference. In my mind, I can see a difference in color and gradations of color...to me it is worth it.
I guess the question is how much more image quality do you need and is it worth the price of the hardware?
Do a test. Get a minute or two of digibeta captured for you somewhere and bring it through the dvd creation workflow. Do the same with a dub of the same footage and check 'em out side by side.

Digi beta PAL editing on i Mac

Hi all. I am a film editor who has recently bought fcp and is eager to do my first professional job on it. An opportunity has arisen and I'm thinking of doing it at home on my imac (2.8 Intel Core Duo with 2Gb RAM). I'm unsure whether Pro Res 422 clips from the original Digibeta rushes will run smoothly on my machine. I am asking because I will be digitising the footage at an edit house and then bringing the files back home on a drive. so I need to know the maximum res my machine can cope with before digitising.

You might get away with uncompressed 8 bit on a FireWire 800 external drive. Do a small test first.
A few years ago I had to edit a long form project on a G4 from digi beta material. I captured through another companies machine with a Black Magic card to DV, retaining original timecode and edited at home.
Obviously, this was only to edit. I then went back and batch captured the finished version at full res to do color grading and titles.

Digi Beta into FCP

Hi, I am shooting a documentary on Digi Beta. Can anyone advise on the best way to get the rushes into FCP. I have a Sony Z7 to import DV via firewire so do I need to convert Digi to DV ? If so what happens to the quality?

David Bogie Chq-1 wrote:
Jon, sorry to butt in, I don't know this deck, but doesn't this FW connection convert the DigiBeta to DV? Does the deck is show up as an external drive?
bogiesan
I own this deck but I've never used it via FireWire because I have a capture card. I had assumed it would capture as regular NTSC but further research indicates that you are correct - it does down-convert to DV.
Which means, I guess, that there is no way of doing this without a capture card.

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Hi all
I have to playout some image sequences to Digi Beta and also play out their alpha channel to tape for an edit in a linear suite. So far I have been unable to do this in FCP 4.5, i can see the alpha but am unable to play it to tape.
In Avid I would just import the image seq, drop it the time line and select show alpha. Job done. I'm sorry for comparing this to Avid but that's my background!
Any gurus have any suggestions?
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Yah, I just cut a white slug on V2 and my alpha bearing material on V1, then I set V2's composite mode to Travel Matte Alpha. You may need to invert depending on your requirements...
Patrick

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Can more than one party be waiting on the same Occurrence and will all waiting function be released together?

dbaechtel wrote:
Answer was not given:
Can the output of a Generate Occurrence function, which is a refnum, be passed in Local/Global Variable so that it does not need to be wired to all parties directly? Is this possible?
I am not worried about whether it is bad form or not, as yet. That is for me to decide on a case by case basis.
Yikes! That is not a very good way to learn.
Anyways, to avoid any more bold emphasis on words, I will answer your question. Locals can only be linked to controls/indicators not individual wires. If you want to get the effect of a local/global variable with a wire value, search the forum for action engines or functional globals. Those will work for passing a wire value between threads.
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Can I output to Digi beta on 4 channels of audio discreet?

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