[Ben Holmes]

Not sure I realised when 7 was released what an important addition 444 was. I enjoy education AE artist to the advantages of outputting this rather than Animation. It’s not just the ease of use in FCP, it’s also the reduced size.

I plan at some point investigation ProRes LE – it seems to have been designed for use in the kind of live, mobile production I work in frequently, with 60% the bitrate of standard ProRes and almost all the quality (supposedly). Crucially for HD, it opens up the storage options, and reduces the amount of storage needed for large amounts of live footage.

Funny – when ProRes was introduced we all went screaming towards HQ – but I get the feeling that the ProRes family will all end up being used in broadcast widely.

Ben

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[Ben Holmes]

Thanks Jeremy. That makes perfect sense. These edits will be laid off to HDCAM for duplication, then to various tape formats – I think it’s going to around 120 broadcasters… On that basis, I imagine we would not want the true p used, but stick with psf.

Incidentally, I’m amazed by the quality of the XDCAM 422 footage. Although undoubtedly down as well to the quality of the glass used on the shoot, it really is remarkably detailed and possesses an almost 3D depth to it. Very nice…

Thanks again!

Ben

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[Ben Holmes]

Apologies – just noticed the reply from Gary Adcock below about using 1080i25. Don’t know why it didn’t come up on my search….

Still not clear why if that’s the ‘official’ Kona setting to use for 1080p25 footage, the Easy Setup defaults to video NONE – or have my presets been corrupted/altered…?

Ben

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[Ben Holmes]

To add to (and I hope not hijack) this thread, could this be related to the fact that the Easy Setup for 1080p25 (I’m using XDCAM 422 footage shot at 1080p25) the video output is set to NONE?

Manually changing the video output to 1080i25 restores my picture – but won’t this be an issue when I lay this to tape? Am I losing quality on output – presumably I am. Where are the 1080p25 options?

Ben

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[Ben Holmes]

Ensure on the settings tab on log and transfer you have it set to import as ProRes, not native. Your encoded files will be put in your capture scratch folder. However, this looks like another issue. Was the footage on CF cards? Have you kept the entire folder structure of each card when it was copies to your drives?

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[Ben Holmes]

I have to agree David. I’m not sure at this stage in the game what Apple has to fear from an open beta program to thrash out the bugs from a re-build of FCS. Oh – apart from it happening over Steve Jobs dead body.

My spidey-sense says a re-write MUST be on the cards. For all the “Apple only cares about iPods/iPhones/iSlates” talk, FCS shifts a lot of expensive hardware – and Apple’s a hardware company with growing computer sales. Just because the overall percentage of pro/consumers has shifted, doesn’t mean the pro sector has not grown in real terms. My hope is that Apple realise the importance of their next move in this space, and get it right.

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[Ben Holmes]

Just to chime in – I use two G-Speed ES’s configured together as RAID5 running off the single G-Tech E-Sata card. Screaming fast for the money, and I’ve never had a single problem. It is ABSOLUTELY supported by the drivers and software – just to clear that one up.

I would suggest you physically re-install the e-SATA card, ensuring it’s in the correct slot (see the excellent G-Tech setup docs) and re-install the drivers for it.

Then USE THE G-TECH INTERFACE to configure and build the drives – not a third party solution, NOT disk utility. As suggested previously, make sure it’s set up as OSX extended.

I’m pretty sure from what you’ve described the issue is either a bad build, or a bad installation (or maybe a bad e-SATA card). You can do quite a lot of diagnosis from the G-Tech interface (which is a web panel – again read the manual).

Good luck.

Ben

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[Ben Holmes]

Are you exporting the audio as the same hz? It sounds like you are exporting 44.1 Khz audio as 48Khz. Don’t confuse the sample depth for the audio (usually 16 or 24 bit) with the video bit-depth – they are independent.

Are you exporting the audio as a quicktime or as an AIF or WAV? Try exporting it via ‘export quicktime’, not ‘export via QT conversion’.

Hope that helps.

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[Ben Holmes]

Note to above – this is a full-res crop, not a scaled image. Any softness is down to the jpeg or camerawork….

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[Ben Holmes]

Fortunately, as there was a one-shot overlap on the capture with a ‘good’ clip, I’ve been able to compare a split-screen of the ‘good’ and ‘bad’ footage. See below: ‘bad’ clip (with corrected QT scaling) on the right:

Although the image is slightly degraded from the jpeg, I can say that on a full HD broadcast monitor, there is no discernible difference – especially not to detail or edges.

Ben

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