[Ben Holmes]

A late entry – I’ve only just installed my copy on a new 17″ MBP.

Love the new shadow and reflection options in Motion, as well as the framing behavior, but Motion is still not improved for smooth camera moves, and STILL CRASHES every half hour or so. AAAARHGH. I was really hoping for an improvement on this – it’s with a clean install, and as per usual with Motion, usually happens when you add something taxing to the system, or change a setting etc.

I really want to use Motion more (and not have to open AE for simpler stuff) but it needs to be stable.

Please Apple?

Ben

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[Ben Holmes]

As I understand it, the effect is given added ‘choppiness’ by changing the shutter angle as well – the first time I heard the phrase ‘oblique shuttering’ was when Saving Private Ryan came out, used to great effect in the opening battle scenes. It causes a mechanical ‘forced’ look to footage with a high shutter speed. As this also allows less time for light to hit the film frame, it also causes a harsh, noisy transfer.

Many of the optical effects can be replicated with something like Magic Bullet, except for the high shutter speed. For that, erm, shoot it with a high shutter speed – video cameras have this option too. I often have our ENG cameraman on live events shoot with the highest possible shutterspeed and some gain, to give a cool ‘arty’ look for colour shots of an OB – gives me something I can’t fake in the edit…

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[Ben Holmes]

That’s a worry. Anyone else?

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[Ben Holmes]

The bottom of the screen shows ‘no communication’ because it is looking for deck control – set the control setting to “non-controllable device” and use ‘capture now’ to capture footage.

Have you selected the right 1920×1080 ProRes capture preset? It’s right there in the blackmagic capture presets you should have installed on your system.

Your camera’s 24F setting is NOT 24p. It ‘fakes’ a progressive film look using 60i capture. From the website for your camera:

“Note: No matter what frame rate that the XH G1 is set to, in 60i mode the HD-SDI output is always 59.94i and, in 50i mode (optional), it is always 50p.”

Have a good look through the FCP manual for the section on capture presets, and a close look though the capture preset list. The one you are looking for will probably contain the words “blackmagic” “60i” “ProRes(HQ or not)” and “1080”. As I don’t have a Blackmagic system fired up at the moment, I can’t check any more than that for the exact wording – but you should be able to find it.

Hope that helps.

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[Ben Holmes]

And it does seem as if a specific system issue has been turned into a discussion on the merits of ProRes and ProRes HQ – no one has any idea what is causing the system issues, but it’s not his drive, in all likelihood, and it’s not the HQ-yness of his footage. Perhpas we should all move along if we can’t provide a solution…

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[Ben Holmes]

Totally crummy.

I’m not suprised however – the pdf was generated from the print version, which no longer exists, so there’s no ‘need’ for Apple to layout the manual, generate nice useful illustrations etc.

On the flipside, you just saved $300. You could always spend a little on a paper manual from a third party. My guess is that Apple reckon many more users are updaters, who just read the ‘what’s new’ and move on. I don’t think I’ve ever taken my manuals for FCS out of the box – although I have read the odd page on the help menu.

As FCS support had now been rolled into OSX help, the real complaint should be “OSX help and search is really crap” – I never manage to find useful help on ANY app or OSX on it…

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[Ben Holmes]

I would have thought for a laptop system running ProRes, the drives he is using were totally sufficient. I use FW800 drives like the G_Drive often, and have never had any problems.

Whatever his problems are, they are not drive related. My creaky ol’ 2.33Ghz MBP will play ProRes, HQ or otherwise, just fine in real time. Time for a system reinstall methinks…

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[Ben Holmes]

Gary

Late reply to this – been very busy, so if you don’t see it, no problem.

None of my comments were intended as a ‘slight’ to the KiPro, although they seem to have been taken as one. On the contrary, I’m very impressed by the KiPro.

All I am trying to do is get clear in my mind where I stand between a number of different products, and understand where they fit into my own workflow – which is far from standard. I do (although again it seems to have not come across) understand that this is a DDR. However, I believe for me, working in a live broadcast environment, with ENG cameramen sometimes, it could be a little more. I was just trying to establish how much more.

Thanks very much for your clarifications, appreciate your time in this matter.

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[Ben Holmes]

Thanks Walter – I understand all too clearly what the KiPro is, and expect to be using it myself in the near future.

I must admit, I may have confused myself on this one – at present I have a limitation on the MXO2 using ProRes at 1080i resolutions, as the MXO2 cannot keep up with the ProRes conversion from HD-SDI (at 1080 resolutions – it will do 720p), because it relies on the laptop for the processing ‘grunt’ to deal with such an intensive codec. Hence, the issue is the TRANSCODING on capture.

Clearly, if all I want to do is play and edit ProRes at full HD on a laptop all I need is a fast enough drive such as the one supplied with the KiPro (and an Intel Macbook/pro). In this case, I’m good to work with any laptop (like my old 2.33Ghz MBP) and I could pass a correctly configured ProRes file back to the KiPro for playout. What I lose over the IOHD is the ability to monitor my edit on an external monitor or speakers – not ideal, but not unknown in a field situation. If I want to add monitoring, I’d have to look at additionally purchasing the IOExpress, or using my MXO2. All correct?

What I’m looking for is an acceptable and portable ‘one box’ solution where all I have is a laptop and a deadline. Nothing ‘ideal world’ about it, but with the massive KiPro advantage of capturing whilst shooting.

Phew – sorry for confusion, mad busy at the moment, and with little time to ponder my posts. Hope I did not cause any additional confusion for anyone looking at this item – I have high hopes for incorporating it into my workflow soon…

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[Ben Holmes]

Many thanks.

I assume this means that if your laptop is not up to decoding ProRes at HD resolutions, the KiPro is not a great solution for a ‘fully field’ workflow, as much as I appreciate its other attributes.

That said, I’m hoping to persuade broadcasters and cameramen to look at them for using in situations where I have a MacPro for editing available.

Now, if someone could develop something that does what the IOHD does AND fits in a laptop bag, I’m there like a shot. So far, the nearest is the MXO2 – but in HD I’m limited to DVCProHD. Hard to see how the KiPro improves that particular situation… (working HDSDI – not HDMI).

Ben

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