Capturedlive
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We just bought some 50′ DVI-D cables off of eBay that seem to work fine with our 23″ Cinema Displays… The other options are rather expensive.
Producer / Technical Supervisor
Captured Live Productions
http://www.caplive.com -
The footage was shot DVCPROHD straight to disk from the HDSDI out of the XLH1. No HDV involved…
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Does anyone in the LA area have a system set up with a HD/SD switchable broadcast monitor and a Kona3 I could bring our DVCPROHD file over to and check it out? Let me know, and what you’d charge me. Thanks. If you have a Digibeta deck all the better so I can compare our output from Sunset Digital with what the Kona can do. Thanks.
-Evan
Producer / Technical Supervisor
Captured Live Productions
http://www.caplive.com -
I will call you guys as soon as we ship the DLT on this project. I simply didn’t have time to figure this out for this project but I’m very curious to figure out what the issue is. Thanks.
Producer / Technical Supervisor
Captured Live Productions
http://www.caplive.com -
I am in NO WAY trying to badmouth Aja, I am just completely baffled as to what the problem could be. The Kona3 is a very straightforward card, so I don’t know how I COULD be doing anything wrong. There aren’t any options with the downconvert, so I don’t see where the problem could be. If you guys saw the results I was getting, you’d feel the same way, it looks funky. Maybe is has to do with the fact it was DVCPROHD? I don’t know. We didn’t do anything wrong. The HD master looks great, and the SD version from Sunset Digital looked great too. The SD downconvert out of the HDCAM deck, the Decklink HD, and the Aja all looked really bad by comparison. I don’t know what to say. I’d love to compare the Aja and the Yukon downconverts side by side when we get our tape back from Sunset on Monday. Maybe I can post some screen captures for you guys to look at.
I trust all of your opinions that the card should look good, and believe me, I want it to look good, it would save us a lot of money, but with this project, something is causing major artifacts on the downconversion. Anyone have any valid theories?
-Evan
Producer / Technical Supervisor
Captured Live Productions
http://www.caplive.com -
You can see the setups I tried in my last post.
HDCAM->Kona3->Monitor component out from the Kona was the best looking, but still unacceptable. Lots of scaling artifacts and some noise.
The primary was set to 1080 60i and the secondary was set to 525i downconvert. I was looking at the component and composite out of the Kona3 and was not happy with the results. I then captured the SD SDI signal out of the Kona to a Decklink and played it back on a Decklink Extreme system just to make sure it wasn’t the monitor or the Kona’s analog outputs. It looked exactly the same. I am returning the Kona 3.
The good news is I went to Sunset Digital today to look at a test through their Snell and Wilcox Yukon, and it looked AMAZING. If they had told me I was looking at the HD when I walked it I might have believed it, but it was the SD Digibeta test they had running on the monitor. It looked so great. All I can say is that for this project, there was no way I was going to accept a Kona3 downconvert for my final product. It’s costing some real money to get the transfer done, but it is the only way. I would love to be able to downconvert in house, but I would never settle for the results I was getting. Kudos to Sunset Digital and their staff for saving the day.
Producer / Technical Supervisor
Captured Live Productions
http://www.caplive.com -
Ok, so where did we go wrong? Here’s the entire path for the transfer.
XLH1 1080 60i->G5 Decklink HD via HDSDI-> FCP DVCPROHD codec-> Decklink HDSDI->HD CAM
HDCAM->Kona3->Monitor (Looks bad, scaling problems, etc.)
HD Output viewed in HDlooks GREAT off of disk OR HDCAM tape
Also tried:
Decklink HDSDI->Kona3->Monitor (looked exactly the same)
Decklink HDSDI->Kona3->Decklink Extreme SD SDI-> playback on different system (looked the same)
Any ideas? I’m stumped… it should look great from what I’m hearing
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I actually create CMX-ish EDLs using a database program. The edit points come from a simple camera cut log I create at my multicamera shoots as I do my line cut. This system works perfectly in 29.97, but I’m wondering how best to do it with 23.98A. I guess where I’m getting confused is that if you export an EDL from FCP from a 23.98A and look at the timecodes, it’s all 29.97. So my question is, could you import a 29.97-based EDL and somehow relink it to 23.98A media and have it work, ideally without having to do a bunch of conversions? Thanks again…
Producer / Technical Supervisor
Captured Live Productions
http://www.caplive.com -
Wow, ok, good to know. Thanks. I figured it was just the PCI speed that prevented the display, but I guess dual 2.0 is too slow.
Producer / Technical Supervisor
Captured Live Productions
http://www.caplive.com -
Ok, but just so I’m clear, is the information on the cadence order stored in the media or in the sequence? I assume it’s in the media. So I could take a 29.97 CMX EDL, relink it to media loaded in 24P Advanced mode, turn on the remove advanced pulldown option, and it will play properly, removing the correct 5th frame? I think this is what you are saying.. Thanks.
Producer / Technical Supervisor
Captured Live Productions
http://www.caplive.com