Archive for category: Tech

Scott Simmons at The Editblog has noticed a serious problem in the Red post workflow. There are two timecode tracks in R3D and their associated QT proxy files. One is known as “edge code” and is generated as rec run. It is continuous from the end of one shot to the beginning of the next. The other track is time of day. If your camera is set up to display edge code during shooting, QT will display edge code. If it’s displaying TOD, QT will display TOD.

I did some peeking under the hood, and it seems that the QT proxy files generated by the camera have two timecode tracks. The first track is whatever was displayed during shooting. If you delete Timecode Track 1, QT will now display the other type of timecode. If edge code was turned on in your clip and you delete Track 1, you’ll see TOD.

Unfortunately, right now it looks like there are a number of applications that are only looking at the TOD, so if you’re going to do an assembly it seems to make sense to work in TOD. If your production wasn’t aware of this problem and had edge code display turned on in camera, and you still want to work with proxies, I’ve made an AppleScript to delete the first TC track for all the QuickTime files in any directory and its subdirectories. Use with extreme caution. The script will permanently delete the first TC track from any QT file in its path. If you want the track back you have to regenerate the proxy files. I’ve done limited testing with this, and I’ve never worked with AppleScript before, so please be careful.

Download “RemoveTCTrack” 0.1

I’m back from Amsterdam and we’ve finished editing La Commedia. A few weeks ago I described the basic setup we were working with. The whole thing worked beautifully. We almost never rendered anything. There were times when playing back a freeze frame while 2 other video streams were running would cause dropped frames, but that just required a quick render on the 8-core Mac Pro we were working on. The finale of the show finally uses all 5 screens at once in a seizure-inducing extravaganza that also included some effects, so that needed rendering as well. But for the majority of the show I was able to edit up to 4 streams of resized HD video in realtime.

This is an example of the format we used during editing. Each picture represents one of the 5 screens that will be in various locations throughout the theater. The “C” screen is not in use in this example.

The real difficulty in this project was creative. The opera doesn’t really have a clear narrative like a traditional opera. It’s more fragments of ideas that all relate to a theme. Hal Hartley, the director of the show, came up with a separate story for the film that was inspired by the ideas in the opera. But while there’s a clear relationship between the two, the film is definitely not just an illustration of what the people are singing about on stage. And I usually had no idea what anyone was singing about anyway since we edited to MIDI recordings of the score.

As we started editing there were a lot more decisions to be made than usual. In a movie you can take for granted the fact that you’re going to have an image on screen most of the time. You might have a few seconds of black here and there, but in general movies tend to have something going on all the time. But with a stage production, you might not have any video at all for several minutes while the audience focuses on some activity on the stage. And if we do want to show some video, we have 5 different screens to choose from. And some portions of the audience can’t see some of the screens. Some of the audience sees the back side of some of the screens, so the image is in reverse and we can’t put text on those screens. It was all very tricky. Read more →

I was working on a movie in Avid Xpress Pro (on Windows XP) recently and I figured it was time to finally get some equipment so I (and a client) could watch the video on an external monitor. A DV deck is the usual way. You hook up the deck to the computer via firewire, the deck translates the DV to analog, you hook your TV into the deck and you’ve got NTSC video. Trouble is, I have very little use for a deck. Most projects I edit these days come to me already on a hard drive. DV tape is obviously on its way out, and spending $2000 on a deck I won’t be using much longer seems a little silly.

I was hoping to get an Intensity Pro. I didn’t need to capture or output any tapes, so that seemed ideal since it could also handle HD. But then I remembered that Avid doesn’t play well with others. Avid only works with Avid DNA products like the Mojo. The Mojo is essentially a glorified digital/analog converter that also adds 2:3 pulldown to 24p video in realtime and retails for $1700. It’s worth noting that Final Cut Pro adds 2:3 pulldown for free.

I considered a D/A converter, but they all run around $200 and don’t have any tape decks, in case I do need to capture a tape here and there. Eventually I decided that a cheap camcorder was my best option. First I got a $160 Canon camcorder. With Avid Xpress Pro I was getting a 16 frame delay and often drifting out of sync, which I assumed was because it was a cheap piece of crap. I returned it and got a $190 Sony DCR-HC28 since I’ve had such good experiences with Sony decks. I still get the 16 frame delay with the Sony camcorder, but I don’t have the drifting problem. I was working on a different project in Final Cut Pro, so I booted up the Mac OS to see what the delay would be. Turns out it’s only 2 frames, which is what I usually expect from FCP with a firewire deck. That really surprised me since it’s the same computer. From what I’ve read in online forums, the 16 frame delay is standard for Avid without a DNA like the Mojo. I’ve turned on desktop play delay, which keeps the video in sync, but it makes editing a bit more difficult.

I don’t have any plans to start shooting home movies, so I can’t say anything about the image quality of the camera. I can only assume it’s horrible.