Custom Capture and Sequence Preset

[Mark Curry]

Also the resolution still to be finalized – may be 1024×768.

[Gary Adcock]

[Mark Curry] “Also the resolution still to be finalized – may be 1024×768. “

OK
first off this are not video resolutions nor video dimensions so some info is needed maybe you should explain what is is you are doing since this sounds as if you are doing mobile content not for video playback.

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, IL

https://library.creativecow.net/articles/adcock_gary/AJAIOHD.php

[Mark Curry]

Hi gary,
Right these are decidedly not standard video resolutions. I’m conforming various standard resolutions from tapes and files (NTSC, PAL, HDV, etc.) to a resolution that matches a large LED screen (aka Jumbotron – outdoor screen). The LED screen hasn’t been finalized, but they are general pretty low resolution and are not standard video resolutions. The current screen candidate for instance is 448 x 336. I’d like to take advantage of hardware’s superior speed, ease and reliability (versus software transcoding). So, I’m hoping the Kona supports weird dialed-in custom frame size capture settings. The Kona 3 manual discussed creating custom presets, but I don’t know as I’m looking to rent a post-production house.

[Mark Curry]

^ bump : )

[Mark Curry]

Anyone??

[Gary Adcock]

mark

I eluded to this, but did not state it completely.

Your FCP/ Kona combo does not support anything other than standard video rasters and frame rates for playback and capture.

Adobe After Effects can and does support any variety of frame size and pixel ratios that FCP does not.

capture all your as needed then use AE to frame correctly for delivery.

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, IL

https://library.creativecow.net/articles/adcock_gary/AJAIOHD.php

[Mark Curry]

Rats. I expected this would be the case. This means a lot of software transcoding then – a lot of time.

[Gary Adcock]

[Mark Curry] “Rats. I expected this would be the case. This means a lot of software transcoding then – a lot of time.”

not necessarily

capture and edit as needed in FCP.

run the final output file as a QT REF movie- drop into the AE file with settings- scale as needed then output a single file from AE to what ever your final rez is.

then it is only one render to deliver the file.

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, IL

https://library.creativecow.net/articles/adcock_gary/AJAIOHD.php

[Mark Curry]

Yes, but multiplied by the hundreds of files I’m converting, it becomes considerable. I’ll probably use Apple Compressor to do the conversion.

[Gary Adcock]

[Mark Curry] “Yes, but multiplied by the hundreds of files I’m converting, it becomes considerable. I’ll probably use Apple Compressor to do the conversion.
“

not really.

look treat all of the video as video- use the kona card to capture the variety of formats into a common editing format- HD, SD can be converted at the point of capture to what ever your editing master is going to be the PAL needs to be done separately because of the frame rate.

Trying to do all of this on the timeline in FCP will result in a debilitatingly slow computer. Capture and create in a standard Raster and frame rate and conform everything to fit those settings and your edit will go much much faster. SO make it easier on yourself- do as much of the conversions in hardware when you ingest- then there will be less rendering, less hassles and a faster edit, with a simpler output.

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, IL

https://library.creativecow.net/articles/adcock_gary/AJAIOHD.php