Aaron Neitz
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After Effects Coin
Forum Replies Created
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Lacie has let me down so many times. You’re not the 1st to have one of their drives fail on you.
We use mainly G-Tech products now. Not 1 single failure in 2 years on a range of their products.
I’m a little unclear on how their G-SpeedEs works. Seems like it requires their Pci-e card to get Raid 5? But be aware the regular G-Speed is a scsi/fibre solution, not suited for a laptop.
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you could put a color corrector on it and turn all the levels down so everything goes black. ta da!
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Aja Io. Latest drivers. Tiger and FCP 6.0.1.
There might be a workaround, but we’ve literally been doing this exact workflow since FCP 4.5, and it’s worked without hiccup. Now it’s broken and I’ve got 3 editors who are ready to go back to FCP 5.
I understand FCP 6 works great for a lot of things, and perhaps our workflow is a little esoteric, but it worked.
I’ll try loading Monday with a Kona system, and then a DVCAM-firewire connection. Perhaps with ProRes? But I have a suspicion it relates to that QT timecode issue I was having earlier this week with Combustion.
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DV50 @ standard def. Haven’t tried anything else because we’re already deep in editing (which luckily, it still edits correctly despite rotten timecode). It’ll be a hand typed EDL at the end of the day!
whoo! it’s friday!
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In my experience, EVERYONE uses psf all the time. You’ll want to ask specifically for the festivals, but I would guess Psf would be the norm for most digital projectors that accept HD-SDI.
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We’ve got 2 of the 1.5TB G-Speeds. Great little raids – rock solid with uncompressed HD. Raid 3 right out of the box which is ideal for video. You can get it in either SCSI or 4GB Fibre.
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1) you’re dealing with DVCPRO-HD material which * REALLY IS* 1280×1080. It’s an anamorphic format (sometimes QT or FCP says it’s 1920×1080, but that’s simply the extrapolated frame size. Flip the Anamorphic switch in Clip format if it’s looking squeezed.
2) even if you’re clips are 23.98, the compressor is DVCPROHD 60i. Doesn’t mean they aren’t 24fps, just the version of the algorithm used to compress them.
And cinema tools is correctly making 24fps for you, right? just screwing up the aspect ratio?
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1) you’re dealing with DVCPRO-HD material which * REALLY IS* 1280×1080. It’s an anamorphic format (sometimes QT or FCP says it’s 1920×1080, but that’s simply the extrapolated frame size. Flip the Anamorphic switch in Clip format if it’s looking squeezed.
2) even if you’re clips are 23.98, the compressor is DVCPROHD 60i. Doesn’t mean they aren’t 24fps, just the version of the algorithm used to compress them.
And cinema tools is correctly making 24fps for you, right? just screwing up the aspect ratio?
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choose psf. it’s basically a progressive signal split into two fields for transport between machines/decks/NLE’s. It’s more compatible with workflows that also process regular interlaced media (like 1080i, NTSC, PAL, whatever). It’s pretty much the standard for all HDCAM and D5 delivery for television.
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First you need to remove the advanced pulldown in all your DV media. But it sounds like you have since you’re actually editing in a 23.98 timeline? In which case it’s true 23.98.
At that point you have the Kona upconvert to 1080/2398. You native format is 525/23.98 and your upconvert is 1080psf/23.98
I’ve never seen the output of a Teranex mini. They’re supposed to be the best gear for upconversion hands down. But the Kona does a very respectable job. Don’t expect miracles. DV to HD is going to look a little disappointing.