Playing out Alpha to Digi Beta

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?
iMac G3 600MHz, 12iBook Combo G3 900Mhz, iPod 10G Mac OS X (10.2.x)

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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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?
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Now in Dreamweaver, when I tested, the FLV plays through the SWF, as it should. However, there is a white square around my video now and the alpha channel is lost.
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Okay, so I figured out a way to make my compressed FLV video play with alpha.
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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.
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I have access to 3 digi beta cameras to film a concert of band....
I would like to then edit it in FCP V6....
I have a mac book pro Intel.....and a E-sata drive attached to the Macbook pro..
vias PC express card.
I know that I would have to get some kind of box to convert it to DV for editing..
Just wabnt to know what format,etc...
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Its all a bit new to me at the moment.....any thoughts or advice would be appreciated
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You'll need a way to capture the digi beta... i.e. a deck... which do you or will you use?
You could just take the analog out from a betacam deck, and capture that signal via a DV camera, but it wouldn't be as good as using an Io for the job via SDI...
You'd need a keyspan adapter to capture the timecode correctly if you use a DV deck or camera for the transcode.
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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.
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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

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