Blog

Posts Tagged ‘Digibeta’

AAKK! My master tape snapped! How to deal with very old videotapes

Thursday, September 25th, 2008

Here’s an important tip about playing back very old videotapes, be they BetaSP, BetaMax, 3/4″ U-Matic, digibeta, BetaSX, DVCAM, etc.

For whatever reason, some people don’t rewind their master tapes after working with them. Perhaps they are worried about additional tape wear. Or maybe they just got distracted or… are just plain lazy. If you are worried about tape wear, then at least fast-forward the videotape to the very end so that it is spooled tightly on the take-up reel in side the cassette shell.

If a tape has slack and is set on a shelf for 5-10 years,  the loose part of the tape will harden and become brittle in the air. Then then next time it is played, the tape will snap in two upon insert into the video deck. People often come to us with this problem.

The leaders on the tape at the head and tail are made of a sturdier plastic that can stand up to air, gravity, and the distress of time. But the actual oxide-covered videotape is much more sensitive and can deteriorate rapidly in the wrong conditions.

So if you do come upon an old tape, NEVER pop it right into the machine. Instead, first hand-wind the tape all the way to the end, even if it takes you forever and you have to sit down to watch the big game with the cassette in your hand.  (Just don’t eat Doritos until you’re done because salt and grease from your hands isn’t the best for the tape either.)  Once the tape is rewound, pop it in the deck and DON’T HIT PLAY. Instead, shuttle the tape all the way to the end using fast-forward and then rewind it to the very top. Now eject the tape and reinsert it so it gets a fresh spooling in the system.

Now, you’re all set to play the tape for duplication, digitizing or plain old entertainment.

Defeat Macrovision DVD piracy protection in 3 seconds!

Friday, February 29th, 2008

Macrovision is a piracy protection system that darkens the video image if it is copied from a standard DVD player.

First off, this is NOT a subversive message to coax anyone to break the law. However, there are plenty of times when it is vital to a project to use “copyrighted” material ripped from a commercially sold DVD. Some examples of when this is important are:

1)    You acted or were crew in a particular film and wish to present a clip of your scene in a montage of  your demo reel.

2)    You are making a “rip-o-matic.”  That’s when, as a filmmaker, you create a fictitious preview trailer using clips and footage from a variety of different movies, since your film is not shot yet. This is useful to use as presentation tool to potential investors. Of course you can never broadcast, sell, or otherwise exploit the original material. The rip-o-matic is also useful for creating a living storyboard from which you can plan shots for your own movie in the style of the original.

3)    You want to use footage in a montage at a wedding or other family occasion. For example, you may want to have famous love scenes (Casablanca, etc.) edited together with your own voices dubbed in for a spoof at your wedding reception.

4)    You may want to digitize the footage into your own edit system so you can practice graphics and editing.

There are probably hundreds of other non-commercial uses where you may need to rip a commercial DVD. Of course, I’m not a lawyer and do not advocate breaking any laws whatsoever, but if you really want that footage without the Macrovision (and if it is legal), all ya gotta do is run it through a time-base corrector. Don’t have one? Many professional video decks have built-in TBCs. Just play your DVD and run the signal through a pro deck or TBC and you’re off to the races.

-Kirk

How to ruin your career and embarrass yourself in half a second flat!

Wednesday, January 2nd, 2008

Here’s something we encounter all the time, a major client with an insane deadline sends us a precious file of their motion picture to be laid off to BetaSP or Digibeta for use in a critical film festival screening where the audience includes top studio scouts and distributors.

At the screening, the lights dim, the projector fires up, and the film hits the silver screen with all its glory and charm. The distribution execs are cracking up at every joke and displaying the perfect body posture for the dramatic parts. The screening is going to be a hit… until… OH MY GOD! THERE’S SCRATCH DIALOGUE COMING FROM THE CHARACTERS’ MOUTHS! AND, WHERE DID THE MUSIC GO IN THAT SCENE? AAAAAK! A TEMP TITLE CARD THAT SAYS “SCENE MISSING”!

Poooof. There goes the distribution deal. There goes my life!! Anyone need a bartender out there?

But how could this have happened? The file was proofed and re-proofed and watched by several people. The film was perfect back in the online bay. And the file that was transferred for the screening was called “LOST IN PARADISE NEW FINAL VERSION REVISED”.

And therein lies the problem: The file name. The wrong file was used to make the transfer.

This is a dramatic illustration of the consequences of naming files without the use of a clear emnaming convention.

I don’t understand why so many actual professionals name there files things like:

My_Film_New_Master.mov
My_Film_New_New_Master.mov
My_Film_New_New_Final_Master.mov
My_Film_New_New_Final_Master_for_Sundance.mov
My_Film_New_New_Final_Master_for_Sundance2.mov
My_Film_New_New_Final_Master_for_Sundance2_Revised.mov
My_Film_New_New_Final_Master_for_Sundance2_Revised2.mov
My_Film_New_New_Final_Master_for_Sundance2_Corrected.mov
My_Film_New_New_Final_Master_for_Sundance2_Corrected_Final.mov

Now when there are a bunch of discs floating around the office with various versions of these “FINAL” masters, it is really easy to see how things could go terribly wrong at the dub house when the incorrect file shows up for transfer.

For that matter, with everyone working from servers and hard drives all over the world, it’s super easy to see that a mis-named file in a folder could be mistaken for the correct one. In fact, people accidentally delete critical files all the time on their very own computer for this exact same reason.

So the trick is, ALWAYS NAME EVERY SINGLE FILE WITH A VALID NAME. Here are some excellent ideas to include in your name:

1) The date the file was made. THIS IS ABSOLUTELY CRITICAL! If there is no other info in the file name, you must use a DATE. With the real date in the file name, it is almost impossible to grab the wrong one since an actual date is so easily cross-referenced by invoices, production schedules, and other records of processes. Also, make the date read in reverse European-style syntax: YEAR/MONTH/DAY/TIME (military). That way, the date will always sort in perfect order and it will be crystal clear which file is the latest one.

Example: 2008_12_31_1325

2) The project name or abbreviation. “Lost in Paradise” becomes ”LIP”.

3) The status of the project, such as “RuffCut_No_Music” or “ColorCorrected_Master”

So your wonderful new, final, final, really truly master corrected revised file will end up looking like this:

2008_12_31_1325_LIP_FOR_SLAMDANCE.mov

Ain’t it a a beautiful thing? And if that file name is too long for a given purpose, you can still get by with:

2008_12_31_LIP.mov

God, that’s clean. MMMMMmmm. It’s delicious to behold and to archive. Oh, and by the way, you will be able to actually keep your job if you name files like this.

Kirk