Deck recording

I have a G5 tower with a Sony DSR-11 Deck hooked up. Now this sounds silly, but how can I record footage from FCP onto a Mini DV tape? I feel like I've tried to export to video before and could not seem to get it right. Thanks for any help in advance.

Don't forget to check "Automatically Start Recording" (bottom left corner of the Print to Video panel) unless you want to start the deck yourself.
Andy
G5 Quad 8GB. 250+500 GB HDs. G-Raid 1TB. FCP 5.1.1. Shake 4.1. Sony HVR Z1E   Mac OS X (10.4.7)  
"I've taught you all I know, and still you know nothing".

Similar Messages

  • When mastering my DV deck records only black, crash record sees program

    Hi there:
    I've been editing for years but this is my first Final Cut job. I was having a problem outputting an 8-minute sequence, geting an Incompatible Compression Settings error message. I am not sure why, because all the sources were either DV, aiff music/vo and jpegs, but a friend I asked suggested this solution. First I created a new sequence, making sure that everything was set to DV output (which it seemed to be in the previous, but anyway...). Then I nested my output sequence in the new one. I had to render stuff again, but it seemed that it would finally let me make a digital output to the deck.
    The Problem:
    When I went to assemble, the deck (DSR-11, tape blacked at head) cued and went into record. The output signal was Firewire, the deck's input was DV. Since I was "mastering", it put B&T as well as a black slug in the appropriate spots and for the correct lengths and played the sequence to the end. However I was only seeing this through the FCP output window. When I checked the tape I found the deck had recorded ONLY BLACK, but did assemble correctly since I now had black and timecode on my tape for the full duration.
    It was as if black were routed to the deck. This was really weird because I had been using the deck to feed my line monitor throughout the whole edit, so I knew the deck was seeing FCP. I tried this several times, using different tapes (DVCam, MiniDV) but the result was the same.
    Finally I just added bars and black to the sequence and played it down manually while I hard recorded on the DSR. The deck saw and recorded the piece without a problem, but because I had to hard record the start timecode for the show isn't 01:00:00:00-how unprofessional!!
    Any advice you can give is welcomed. thanks!

    The DSR-11 is a mainly a player. It wasn't designed for mastering. There is no RS-422 deck control, and a few internal components and menu settings are missing, so you cannot master to the deck with timeline timecode. The only thing you can do is PRINT TO VIDEO, and the deck will start recording at 1:00:00:00. You cannot EDIT TO TAPE. The only way to do that is if you have RS-422 deck control, or you use firewire as deck control and send video out via another route, like SDI. The DSR-25 and 45 were the mastering decks.
    There was a trick to getting timeline timecode to the deck, but that trick is 5 years out of date, and no longer works. Bottom line is that you cannot master to that deck and get the timecode you are aiming for.
    Sorry.
    Shane

  • Will the Blackmagic Design HyperDeck Studio SSD Deck recorder, record files I can use in i-movie11?

    Hi guys I am getting ready to upgrade our school video studio from SD (SVHS) to HD. I have found a cool video switcher (ATEM 1) $995.00 from the company (Black Magic) that allows you to use HD consumer cameras with HDMI or SDI outs to produce pro-switching and key results for a good price. However i am a bit stuck on what HD recorder to buy to record the final mix to? Black Magic also makes a SSD HD recorder http:/www.bhphotovideo.com/c/product/766056-REG/Blackmagic_Design_HYPERD_ST_Hype rDeck_Studio_Solid_State_Disk.html
    that will record in uncompressed and compressed modes that looks cool for another $995.00, but will that SSD recorded footage work when my students import their "switched" footage onto their Macs to edit in i-movie 11? I see that is does allow recording at pro res (an apple codec) but I really would like to get some adivce to see if anyone knows this will work before I buy all the gear, I'm not up on pro res.
    I was told I needed a SSD card dock with USB to get the footage into the mac for editing, the unit also states it records in quicktime files. However my 8th graders will be using the footage in i-movie 11 to edit not final cut. I think i-movie will not accept uncompressed video footage. Has anyone out there bought this unit and will it work for my needs? Or if anyone has a better HD recorder that might fit my needs better i would love to know.... Any feedback would be great!
    I found another HD recorder from Panasonic the "AG-HMR10 AVCAM memory card portable HD recorder http://www.bhphotovideo.com/c/product/625609-REG/Panasonic_AG_HMR10_AG_HMR10_AVC CAM_Memory_Card.html
    it is a AVCHD, and records to mini SD cards but i think it only records to 1080i 60, and again I'm not sure if i-movie will accept that? Help!
    Thanks Steve

    Thank you for your reply, Kevin.
    I have watched this tutorial and have tried all of the recommended settings. Unfortunately none of these suggestions has helped the problem.
    As soon as I try to play back one of the captured files its like it chokes everything up. Even if I close and re-open premiere and drop some DSLR footage in (which works fine as I mentioned above) it exhibits the same behavior. The only way to get the DSLR footage to play correctly is to restart the computer.

  • Tape deck recording?

    Maybe I'm missing something, but I had connected a tape player to my iMac via an audio dubbing cable. However I have followed the instructions given and I am not able to hear or record. Anyone know what I may be doing, or better still can someone explain step by step what I need to do. I must mention that I am using the headphone jack on the tape player as the audio output. I can't seen to purchase an inexpensive tape player that has dual audio output jacks.
    Thanks a million

    http://www.thehangtime.com/gb/gbfaq2.html#recordcassette

  • Activate recording deck automatically during print to video?

    Hey all, here is my question.
    Up till now I have always just prepped a file to print to video than manually started my camera or Sony deck to start recording and then clicked start on FCP and recorded the video to tape.
    I have a client that now wants my video to start at EXACTLY the 60 second mark. Is there a way to set up FCP to trigger the deck to start recording as it starts playing the color bars, title, countdown etc? So that the time code on the tape starts at exactly the moment the first color bars start?
    Then I can set up the color bars, title, countdown to total up to sixty seconds and have the video begin right there.
    Is my question clear?
    I want bar code to start at 00.00.00.00;00
    and I want the final countdown to end at 00.00.00.60;00 and the video to begin. Make sense? Is there a way to get FCP to start deck recording?
    Thanks in advance.

    That would be Edit to Tape, not Print to Video.
    No. You do NOT want timecode to start at 00:00:00:00... How will you pre-roll? One common layout is tape black starting at 58:15:00, Bars and Tone for 60 seconds, 20 seconds of black, 8 second countdown, with a 2-pop and 2 seconds of black to have program starting at exactly 01:00:00;00
    Make sense?
    Patrick
    EDIT: BTW, Edit to tape allows you to Black the tape. If using RS-422 deck control, you can set the starting timecode in the dialog. If FW, you'll have to set it in the deck...

  • Capture Now with Non-Controllable Device and Timecode from deck

    Hi,
    Trying to replace a windows laptop using premiere during our events.
    The mentioned system will allow me to get audio/video/timecode all through firewire from the deck AND allow me to "capture now" as a non-controllable device.
    I have not been able to find out how to do this with FCP6. I am able to get the timecode I need, but only with the "controllable" device settings I have thus far tried, at which point a "capture now" gives me an error message stating that the tape has ran out (or something of the sort)
    With "Non-Controllable Device" selected, I can "capture now" but the slot where the deck's timecode had been located is completely gone and no timecode was recorded on any of the test clips I tried.
    Thanks,
    Jeff

    Hi -
    I'm confused.
    The DSR 45A only has one firewire port, if you are plugging your computer into that to source the video, where is the video and timecode source feeding the DSR-45A coming from?
    Within the DSR 45A there are internal menu selections that specify the timecode behavior of the DSR-45A, are these menu settings correct?
    If you load a pre-recorded tape into the DSR-45A can you control the deck, and successfully capture from it as a controlled device from your FCP computer?
    You said:
    we have main deck, a backup deck and a dvr deck recording the primary feed. the capture now stuff is extra bonus!
    What are the formats of these decks? Is the timecode feeding the DSR-45A coming from one of them?
    Thanks
    MtD

  • Zen Micro - - - Setting Recording Lev

    Hi All,
    Is there any way on the Zen Micro to adjust recording levels? Everyone knows that all CD original recordings were not created equally - some are loud, some too loud, some recorded at barely a whisper. I want to make sure that the flow of different tracks on my Zen Micro are all at the same level. Any help would be appreciated. Happy Holidays!!
    Dan S.

    Thanks SSR. I tried it out and it seems that the "Smart Volume" function lowers the volume of the majority of tracks to the lowest common denominator level - meaning that louder and better cd recordings are lowered to match the less than stellar recrdings. I was hoping to boost the lower recordings to a higher level since the micro zen paired with the Sony fontopia E7 earbuds already struggles with louder volume reproduction.
    With my old tape deck recorder, I could boost or lower the recording level at the source instead of manipulating the signal after it is recorded.
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  • Oops, recorded some in LP

    So when I got my Canon GL2 back from service, I didn't notice that they had switched the recording mode to LP. Doh. So I shot some footage in LP and then after about 5 minutes, switched it to SP.
    Can I capture the LP footage in FCP without any problems? Anything I should be aware of?
    Thanks!

    In analog formats, yes, tape speed DOES affect quality.
    In MiniDV (and Digital8), however, the camera/deck records the exact same information on to the tape at 3.6 MB/sec, simply running the tape at a higher speed. Exact same bitrate, exact same data, exact same quality, just packing it in closer physically on the tape.
    However, dust or whatever on the tape can affect a greater amount of data, resulting in nastier glitches. SP is more RELIABLE, but it is not better quality.
    In my experience, shooting/capturing LP on the same camera is just fine. If I'll be capturing on another deck, or if it's a project where dropouts are completely unacceptable, SP it shall be. Events/weddings I usually shoot in LP.

  • 24fps output to tape doesn't work

    I have a 24fps sequence (which I'm outputting to film) and want to output it to DV tape. But when I print to tape, or even playback the sequence with my deck recording it, only the first image appears, with no movement. I'm using a Sony DVCAM DSR-11 deck via firewire.
    How can I print my sequence to tape?
    thanks
    Scott

    Studio X wrote:
    No, not the aspect ratio, it is the FRAME SIZE.
    As noted, standard DV video (whether 4:3 or 16:9 anamorphic) is 720 pixels wide x 480 pixels tall. This is what your device at the end of the firewire cable is expecting.
    Ah, of course, makes sense.
    I suspect the frame rate has something to do with it as well. I exported the sequence as a QT movie and reimported it into a 720x480 sequence at 24fps; it still wouldn't output. I then imported it into a 720x480 sequence at the DV frame rate and it did output (although adding a lot of extra frames of course).
    Thank you all for your excellent advice.
    Scott

  • Capturing video straight from a switcher to hard drive???

    I am shooting a seminar this weekend and want to go "tapeless". I will be using a Datavideo SE500 switcher withthese outputs:
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    S-Video, on 4-Pin Connectors
    Component Video, derived from Composite and Y/C using a breakout cable
    I will have with me, my Macbook pro with Firewire 400/800 inputs, USB, etc.
    I have been told that maybe the DVI for an external monitor can be used ad an "in"?
    I did a little expirament I went from my Panasonic DVX100B to a Sony palmcorder via RCA to DV cord that came with palmcorder, then with palmcorder in VCR mode, I went from palmcorder to Mac Pro with Firewire and captured with iMovie.
    Is there a way to capture this video right into my project in FCP, and how should i do it?
    Thanks
    Rob
    p.s.- i have access to a DSR45 deck if it might have the connections i need.

    My signal path is this:
    Analog out of switcher to JVC DV deck (recording to DV tape) - (I actually feed the signal through a chyron, then through a VDA and then into two matching DV decks so I can swap tapes without interruption).
    FireWire out of (one) JVC deck to Mac (capturing in real time to HDD using 'Non-Controllable Device' setting
    I have the 500GB external drive on FW800, while the video is coming in on the FW400. I do this on both my MacPro tower and MacBookPro (but you can NOT do this on the new MBPs, see below).
    But even then, if I remember correctly, a single FW pipe can handle two-way DV streams (in from device AND out to HDD).
    (ASIDE TO AUDIENCE:
    This is exactly why I'll not be buying a new MacBookPro, because they removed every single feature that made it a Professional machine:
    No full-size DVI out
    No FW400
    Glare-only screen (although I see that the 17" does have a non-glare option)
    Disk drive on side instead of front
    If I wanted a non-pro computer I would have bought a MacBook! In my line of work (Film, Video, Audio, Theater production, and projection using Catalyst) I MUST have a full size DVI; I still use many FW400 devices and I still need 2 FW ports anyway; I simply will never use a glare (glossy) screen; and on my cramped and crowded workspaces, I don't have room for side-loading optical disk drives (the front is always clear because I need the room for my hands).
    It is NOT professional to have to carry around a DVI adapter and several PCI Express cards to get my computer to do what I need it to do.)

  • Work flow for syncing separate Audio files with Video files in FCP

    It may be too late for me to use this workflow that I want with my current project, but I need to figure out what it is anyway for future reference.
    Right now I'm editing a movie which is near completion. When we recorded the movie, the camera's deck recorded reference audio from the sound guy at 48k @ 16bit. This audio also went through an additional set of preamps which added a small amount of noise. So we don't want to use the reference audio because of it's low resolution and less clean audio. The sound guy recorded straight to his deck at 48k @ 24bit, besides the better resolution, his audio is noticeably better.
    The camera deck and 'clapper' (I think that's what you call it) were not connected or synced. So the video files and the soundsguy's audio files are slightly different lengths, but at least have a 'clap sound' to manually sync to. And I don't mean that the audio and video files won't play in sync with each other, I mean that the soundguy always started recording before the camera, so his audio files have slightly different start and stop times.
    Could I have synced the audio files with the video files before I started editing this project? If so, could it have been in the way that the soundguy's audio would be connected to my video files while editing? What would that procedure have been?
    My current workflow right now is I have my finished sequence, I change the bit rate to 24 in Sequence Settings, and start manually dragging the soundguy's files to the sequence for every little edited clip. This is going to take forever, there are 99 scenes in this movie. Anyway, at the end of the day these sequences are exported as .omf files and imported into Pro Tools for audio post production.
    I was not thinking to figure this out before I started editing the movie, this is unfortunate, a newb move in a decent production.
    Anyway, I don't know if there is a standard for this situation or if I just opened up a can of worms for many possible workflows. Please comment if you have experience in this area or please refer me to any reading material.
    Thanks for your time!
    -Monty

    The normal workflow (besides manually syncing up before editing!)
    is to have ' some ' way of auto syncing the clips.
    So you must have common timecode.
    With external audio, you can slave the cam's TC to the TC output of the BWF recorder.
    Then you can use BWF / QT merge (one of my apps) to sync them, or use Sync 'n Link.
    (another third party application)
    If it is not possible cause you're shooting with a cam without a TC input, you can record the TC output on one of the audio tracks of your cam, and use FCPauxTC reader to decode the beeps and translate that to QT TC, and again use the former tricks to sync them.
    It is difficult when you have never done it, but very easy once you get the hang of it, and it saves a huge amount of time to do it right from the start.
    Have a look at the FCP aux TC reader here:
    http://www.videotoolshed.com/?page=products&pID=26
    Sync 'n Link can be found here:
    http://www.assistedediting.com/Sync-N-Link/
    /// disclaimer, i AM the owner of Videotoolshed, and i WILL (at least try) to make money on it. ///
    /// i do NOT have any relation with AssistedEditing.com, besides friendship with the owner. ///

  • ARRGGGGHHH!!!   Print to video

    Hi All,
    I have a seemingly new issue here. I have a sequence in FCP which I am trying to ouput via F/W to my DSR 30. The deck "seems" to not see the correct type of signal on its DV port. Yes, I checked all of the settings, like output, playback, etc.. I am monitoring the signal from the output of the deck and I can see and hear the video/audio as it is received by the deck, but the deck will not go into record mode. At first I thought this was a deck issue, but I can output other video no problem.
    For example, I have a sequence which I dumped to this deck last week, and the deck records it just fine. I can even copy a little bit of the previously dumped video, paste it into THE SAME SEQUENCE which I am using now, and the pasted video records just fine. But when the playhead gets to this week's video, it will not record.
    Is there some obscure setting for the sequences which causes video to be output via firewire in some non-dv format? I don't understand why I would be able to output part of a sequence and not the rest.
    Any ideas?
    Thanks much.
    --Dana

    I do not know what you mean by what kind of sequence.
    The difference between the sources is this: Last week I recorded directly into the deck (it's a dvcam deck, BTW), then output from the deck via firewire into FCP. Did my editing, printed back out to the dvcam. No issues, except that I had to eliminate the transitions.
    This week, the source is a dvd of the service. I put in the dvd, used MPEG Streamclip to demux the audio/video to aiff/m2v, and then read those files into FCP for editing. Now the deck doesn't recognize the output from FCP.
    Before we get all upset about "ripping", I am doing this for my church. We record the service on Sunday mornings, and it is my job to edit them down or up to an hour exactly for broadcast on the local station. I can record onto my little digital camera and then use that as the source, but it takes a lot longer than demuxing it from dvd. We have a dvd recorder at the A/V station which we use to record the service, then print out a dvd for me to use as source material. All legal. I have zero interest in stealing movies.
    I tried converting the m2v to dv using MPEG Streamclip, then reading the dv file into FCP, but had the same result.
    I really need to get this solved, and it is irritating the stuffing out of me!
    Thanks for your time.
    --Dana

  • Why use P2 technology - how do you log?

    Can anyone explain to me why they use P2 technology? When we shoot our DVCAM footage, we log in FCP on a Powerbook, we mark all the good takes, then digitize based on what we've already seen. We don't need to re-log everything in the edit suite, we just start cutting with known good footage. Scene numbers, take numbers are already entered, and we're ready to go.
    With P2, you record your footage, wait 8-10 minutes to copy the files to your laptop, then import the clips, with no markings; you don't know what the good takes are, you don't have any scene or take references, or useful in or out points. These all need to be added in FCP or P2 Log. You have to review all of the footage you've shot again, decide if the take is good or not (which can be fun if you've had 7 or 8 takes and it turns out take 5 was the 'good' one). This strikes me as an incredible waste of time, something we don't have the luxury of with ever shrinking budgets. I expect you have to keep some kind of paper log, (welcome to the 1980's) with an unpredictable file naming system, so that you know what you have when you're ready to post.
    So is this really a good solution? Yes, you don't have to digitize. But you do have to log everything, which is very simple as you shoot in FCP, but you can't merge the P2 footage with a log kept in P2 Log or in FCP. Which brings me to my question: Can you create a log for P2 footage as you shoot, that can be brought into FCP without having to review the footage again or do a lot of post production typing?
    To me, this is the Achilles heel of P2 production. Anyone have any thoughts? We don't shoot a frame without a scene number and tape number, we shoot 50 good shots a day from about 150 takes per day, and at about 60 days a year, we need to keep track of what we shoot as we go. I estimate at least a 1/2 day of logging for every day of shooting with the P2, and frankly, I don't have 30 working days in my year to create logs that I can easily make while we shoot.
    P2, on the surface, looks great. But P2 and any direct to disk technology, to me, looks like a big step backwards in terms of workflow.
    Fire away, folks.
    MacBook Pro   Mac OS X (10.4.8)   Non-linear since 1994

    As the editor of the productions I work on, I am never on set. And I and the producer prefer it that way. This way I come in with an objective point of view, does the shot work or not. I am not clouded by how much time and effort went into getting the shot, I just look at it afterwards and judge it by its value. So we never log on the set. We simply back up.
    When we shoot our DVCAM footage, we log in FCP on a Powerbook, we mark all the good takes, then digitize based on what we've already seen. We don't need to re-log everything in the edit suite, we just start cutting with known good footage. Scene numbers, take numbers are already entered, and we're ready to go.
    You do all this work on the set. We don't, we do it in post, so there isn't twice the amount of work...it is just done later. This is true of every production I have worked on...documentary, narrative TV, short film. We aren't in the field logging and capturing...that is done later. But it is still done. We also slate our footage, and if someone is on the set to do so, they act as Script Supervisor and mark the good and bad takes. So when I look at the footage in the P2 import window on FCP 5.1.2, I can take the good but not the bad. But...I am always in favor of getting everything, because even though a take might be bad, it might contain something good that I can use.
    With P2, you record your footage, wait 8-10 minutes to copy the files to your laptop, then import the clips, with no markings; you don't know what the good takes are, you don't have any scene or take references, or useful in or out points. These all need to be added in FCP or P2 Log. You have to review all of the footage you've shot again,
    Again, we slate in the field. Yes, the clips come in with odd names, but when you capture a tape there is no INSTANT name associated with that. You have to give it a name...as you import. You can do the same with FCP and P2, as you import give it a name, scene, take...mark it good. And again, we aren't reviewing the footage AGAIN...it is done for the first time in post. They may review it in the field with the P2 viewer to ensure it looks good, just like on any film production with a DVCAM deck recording thru the camera viewfinder or rewinding the camera tapes.
    So is this really a good solution?
    Works rather well for me. No problems whatsoever...except when I first started doing this and put ALL the imported P2 clips into one bin. 2000 clips. I'll never make that mistake again. I separate footage by card much like I make Dailies bins with tapes.
    http://lfhd.blogspot.com/2007/01/organizing-my-p2-media.html
    But you do have to log everything, which is very simple as you shoot in FCP,
    You said that you log everything...in the field. I am logging everything in post. Still have to log. And, how do you "shoot in FCP?" That is a non-linear edit, not a camera. What do you mean by this? I guess I don't get how you are logging in the field without having to log. You are still taking the time to log and name the footage...so you lost me here.
    Can you create a log for P2 footage as you shoot, that can be brought into FCP without having to review the footage again or do a lot of post production typing?
    Not that I know of. Achilles heel? I suppose if you look at it from the point of view of your current workflow. But you have to realize that it ISN'T your typical tape workflow. Stop trying to make it work like a tape workflow. Square peg in circular hole. Same thing happened when people switched from Film to Tape...the workflows they were accustomed to didn't work...they had to devise new ones.
    You are going to have to figure out a new way of doing things...or just not shoot with the HVX. It is a very different way of doing things, but production can be pretty slick if you work out a system. I have a system and it works great. If you don't like it, don't use it. Grab an HDV camera and struggle with THAT format.
    P2, on the surface, looks great. But P2 and any direct to disk technology, to me, looks like a big step backwards in terms of workflow.
    Tell that to David Fincher's crew on ZODIAK. Not one tape or scrap of film in that production...all digital.
    If the tapeless workflow doesn't work for you...don't use it. Easy decision.
    Click on Underdog for my experiences with the format. Start from the beginning and see how I progressed if you'd like.
    Shane

  • Sequence playout with source clip timecodes?

    What I want is actually quite simple, but it's more difficult then I thaught.
    Our cameraman has shot al lot of material onto Panasonic P2 cards (and copied them on to a Harddrive). And now I need to make a rushes playout with burned in timecode. (and i don't want to render)
    All the clips have timecode from itself (time of day). Is it possible to create a playout with those timecodes instead of the master sequence timecode? (a little bit like freerun) With the use a digibeta recorder to read the timecode from de rs422 port (and then crash rec on a dvdrecorder)
    Anybody who can help me?
    Ciao, Gideon

    YOu want to output the sequence, and have the deck record the timecode that exists on the clips themselves? So that you then make a tape of all the P2 footage and retain the P2 footage TC?
    Sorry, I don't know of any edit system that does that. Timeline timecode, or pre-striped TC only.
    Shane

  • .F4V playback in Adobe Media Player

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    Solved it with a forum search, mods can delete the post.

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