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ProRes422 interpreted as DVCPro50?
this happened a couple of weeks ago.
A baked QT arrived for output to tape (HDCam and DBeta). The QT was ostensibly ProRes422HQ 29.97 from a timeline that was originally HDV.I could Preview in the FCP canvas at 1920×1080 from my Kona3, 10-bit, with no issues. Looked great.
Edit to Tape changed the whole equation. The output looked like the oats that have gone through the horse once.
Open the control panel to see (WTF is going on?) and on Preview, playback from the canvas evidences no obvious errors… however on ETT, the Kona3 jumps from 10-bit RGB to DVCPRo50. WHAT?!!??!??!
FCP preferences are set for paired output (Same to-tape setting). Open the clip in Quicktime, and it reports codec ProRes422 (good), resolution 1440×1080, YYY (Yaddax3) (why would this make any difference?).Tried AJA-TV to see if this was simply an FCP issue — it does the same thing, so something else is causing the issue. The Kona card is seeing the 1440×1080 ProRes as DVCPro50 and wants to play it that way. The FCP Canvas is obviously massaging it properly somehow before sending it to the Kona while ion Preview, but not when its trying to play it back to tape.
Re-bake the same QT as 1920×1080 and the whole issue goes away. Both AJA-TV and FCP ETT play back the new Quicktime perfectly in 10-bit RGB. Make the tapes, print up the labels and an invoice.
Interesting or very very boring?
jPo
This IS my blog!
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6 Replies
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Joseph,
I too have seen this strange phenomenon on my Kona LH. I mentioned it in a post to Gary Adcock a few weeks back on the FCP Forum and included the screen shot of my AJA Control Panel, which I’ve inserted below. Quite oddly, the Frame Buffer says it’s outputting DVCProHD 50, which is really odd, as we all know DVCProHD should be 100, not 50.
I also mentioned this phenomenon to a tech support person at AJA, who said they have never seen such a thing. He suspected it might be an issue with my installation, but I then checked with a friend who has exactly the same setup, and he confirmed my findings.
I suspect we may have encountered one of those six-legged critters of the insect variety, and it would behoove us to find out if we are truly outputting a vastly inferior video signal to the ProRes we are expecting.
David Roth Weiss
Director/Editor
David Weiss Productions, Inc.
Los AngelesPOST-PRODUCTION WITHOUT THE USUAL INSANITY ™
A forum host of Creative COW’s Apple Final Cut Pro, Business & Marketing, and Indie Film & Documentary forums.
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It must be the thin raster 1440×1080 that’s tripping it up somehow.
I’d send your findings (again) to tech support.
Jeremy
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Thanks Jeremy!!!
David Roth Weiss
Director/Editor
David Weiss Productions, Inc.
Los AngelesPOST-PRODUCTION WITHOUT THE USUAL INSANITY ™
A forum host of Creative COW’s Apple Final Cut Pro, Business & Marketing, and Indie Film & Documentary forums.
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You’ve got to think that’s what it is, since rendering the 1440 QT out at 1920 (only change) was what fixed it.
jkPo
This IS my blog!
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This really only affects display via the card and/or output to tape, right?
David Roth Weiss
Director/Editor
David Weiss Productions, Inc.
Los AngelesPOST-PRODUCTION WITHOUT THE USUAL INSANITY ™
A forum host of Creative COW’s Apple Final Cut Pro, Business & Marketing, and Indie Film & Documentary forums.
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Preview display from the Canvas was unaffected — it was the Edit to Tape subroutine that got lost in DVCPro-land, which was what really threw me. You could see it switch as ETT booted up.
jPo
This IS my blog!
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