Chris Lundy
Forum Replies Created
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How is it that it should work within VTR XChange and not Final Cut? Is it not just a setting in the Control Panel or something? How would you set up this output, what deck settings allow the creation of the flagged frames in the User Bits?
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Not sure what you mean. But I select a device control preset that I’ve created for Panasonic or Sony at 23.98 and has a -1.5 capture offset. I then change it to something new for each capture test. This works correctly when not downconverting the 1080psf signal so the device control is theoretically fine.
The capture preset is where the 525 downconvert comes in. You basically edit an existing one to have the compressor of your choice, with 23.98 frame rate and an Input source of 525 23.98 (not 29.97).
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Well, I’m pretty sure I’m using the capture offset correctly. When I capture everything else on these systems we need a -1.5 offset. I’m talking HD, SD, everything. Like I said, I can capture from the same tape and deck at 1080psf 23.98 with no timecode issue. Also, there’s no pulldown being done by the card for this conversion, it is only scaling. The input is 1080psf 23.98 and the frame buffer is 525 23.98 with the downconvert. The frame rate is untouched, and 29.97 never rears its ugly head. I’m hoping for an answer or some recognition of a problem from AJA, as I have a message in to someone in tech support. But if any has any other thoughts I’m all ears.
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I am capturing video and audio. I have also tried the -2.5 offset and even tried -5 and -10. The latter 2 usually result in capturing at the wrong IN and OUT point completely, but the difference in the captured clip and the tape was still 1 frame. BTW, my HDCAM tape in recent tests has TC burn-in so I can keep track of what’s going on more easily.
Don’t know about the non-drop frame issue. For capture you don’t choose drop or non-drop in settings anyway. You get what the deck is giving via 422 and in this case it’s all non-drop.
This process should be easiest because it’s only a scaling issue. The frame rate should be untouched. Maybe there’s an issue AJA isn’t aware of.
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I actually spoke to AJA support a month or so ago to inquire about 25psf. It is not supported by the Kona board. We were trying to capture 1080psf 25 from D5 and I could get it to work but only if the video input source was set to 1080i 25 (which is the way a psf signal is delivered as Gary mentioned). But AJA said that the board has no programming to deal with this 25 psf as it does with 23.98 psf. So even though I could capture video there’s no way of confirming that the board combined the segmented frames correctly as needs to be done for PsF. They said the Xena deals with this format though and that they just don’t have much customer demand to use this format. Obviously the Kona board could physically do it but they need to program for it.
So no go on 25psf. By the way, PsF is pretty much they only “progressive” format being used regularly. Very few monitors can display a true progressive image since they need the interlace signal carrying a PsF picture.
Good luck.
-Chris Lundy
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That’s really the question. I know the duplicate frames are there but does D5 as a format actually carry flagged frame info. It’s not DVCPro HD so maybe it doesn’t have that ability. If anyone has a definitive answer I’d love to know.
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I need HDV because this QT will be delivered to a client who will line up an audio track and then output to an HDV deck (actually a camera) over firewire. They need to bring an HDV master to a festival. I know, it’s odd and I would never recommend such a workflow, but in this case I’m basically an in-between step who needs to give them what they need. I know I can capture uncompressed and transcode to HDV, but I wasn’t sure if I could go live to HDV through the Kona as I mentioned. Any thoughts?
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Thanks for the info. So, can I take a DV 23.976 self-contained Quicktime to a facility and they can output to BetaSP while adding the pull-down via a card? (What cards do this?) Therefore saving me these extra steps of creating an NTSC 29.97 file. I wasn’t sure if a DV movie can go out to something other than DV, even through a card. I thought it needed to be 8-bit uncompressed if that’s what you were outputting to. Some illumination would be greatly appreciated.
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Well, first of all, I just wasn’t sure whether the render would work correctly when applying the Nattress Film Converter filter to the sequence while it was in an 8-bit timeline. Since the input video is DV I wasn’t sure whether the filter would get confused trying to render the added frames in an 8-bit timeline that has a different frame size. DV is 720×480 and Beta would be 720×486. I wasn’t sure the filter would work correctly if it’s output wasn’t the same frame size.
Also, I know FCP can added pulldown on output, BUT my Dual G4 1.25ghz is not up to the task, it won’t work, keeps dropping frames. Plus, that output is only to DV, i’d still need to get to Beta.
Lastly, we edited at 23.976 cause we wanted to output a 24p DVD, which worked great. I thought all along that adding the pulldown for an output to tape would be no problem. Since it is a problem for me I’m not opting to use Nattress Standards Conversion Film Converter filter.
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This was log and captured. But still, what was captured is inevitably longer than the instance of it used in the edited sequence. Say I captured a 5 minute take, then during editing I use a 20 sec. piece of audio. When I open in editor and Peak launches, the clip that opens is the original 5 minute take, rather than the 20 sec. piece used in the sequence that I control clicked on. Unless that isn’t the normal behavior I guess the only thing to do is export the clip at .aif and work with it in Peak and bring it back like you said. That’s a very sloooooow way to work though. Kind of makes the “open in editor” function useless.
Does someone else using Peak have the same experience?