Chris Seguine
Forum Replies Created
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The hamlet hardware scopes are junk.
Their vx software scope is very promising. The interface is ok, it records too which is great, and price is reasonable, even including a pc. Levels were accurate, histograms are nice, pixel chooser is great.
Its similar to the omnitek minus the luts and bitstream decode.
Small problem, it is unusable, at least for HD – 422 or 444.
We tried it with the xena2k, decklink and intensity cards. There is a huge delay in screen updates, seconds, not frames. Around 5 seconds for 444 sources, slightly less for 422 and hdv sources.
This is on a 8core workstation. They said they were having ds problems with the input drivers and would have an update to fix it – this was december, still nothing.It also currently truncates everything to 8bits.
They have a nice fluff piece on their site by some “DIT” in LA, he said he was using a multibridge. Must have been working with an SD downconvert, no way you can use this for live field monitoring in HD in its current state.
Its not rocket science, convert hex to decimal, plot on graph.
It would be great if it worked.
Omnitek is great, way overpriced, but I rather put money on something with software upgrades than on a dead end leader scope. Leader is the only other scope that shows 444, tek and videotek show 4:2:2 or 0:2:2 stream, not both simultaneously.
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Christopher Seguine
Sublime Films, San Francisco -
What version of quicktime were these captured with and what version is on your system?
Compressor currently displays inaccurate timecode for reference movies, but we have not had a problem with normal clips.
If you open the clip in FCP does it display the correct timecode?
You could also use Episode to do the conversion, you can tell it to copy the original timecode, or set the timecode start.
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Christopher Seguine
Sublime Films, San Francisco -
If you had the 5500/5800 set to 444RGB then it will record 444RGB no matter what – if the Kona was in 10bit YUV mode you would see a red/yellow tinted image on the monitor.
On the VTR make sure its set to 444RGB, not 444YUV, on the System Menu.
Make sure FotoKem’s vtr was set to 444RGB for playback.
Make sure your K3 output is set to 1080 RGBA in FCP/Video Playback
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Christopher Seguine
Sublime Films, San Francisco -
Its been awhile, but from what I recall the PH9 series only displayed 24psf at 48 when using the RGB (analog) inputs, I remember not being able to get it to work properly using the HDSDI or DVI input cards, always added pulldown to display at 59.94. They fixed this on the 10 series.
as for 60hz at HD resolutions, not sure why they list that, probably Japanese to English typo. I know it is 59.94, that is what I program the display drivers for when using them in multichannel installations where sync is critical – and that is what their EDID lists for DVI.
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Christopher Seguine
Sublime Films, San Francisco -
In addition to being lower rez, the the PH10uk displays 24psf at 60hz. The PF10uk displays 24psf properly at 48hz refresh.
Set the K3 to 720/23.98 and the secondary to 1080/23.98 and feed that to the 10uk for proper editing.
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Christopher Seguine
Sublime Films, San Francisco -
HDCAM SR is 10bit RGB.
Work with Quicktimes/DPX/etc – formats that supports 10bits and your data rate will be 180MB/sec @ 24P.
Work with TIFFs, etc that are 16bit and your data rate will be 60% more, as you say, maybe a little less if you use LZW. No reason to use extra bits as they are not there to begin with. Render at 16bits/float – but store in a 10bit format.
General recommendation is 2gig ram/core – the 8gig ram suggestion is to make the most use of your extra cores for rendering.
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Christopher Seguine
Sublime Films, San Francisco -
(gary adcock) and if you have proper trilevel sync into your D5 it should work directly.
good luck finding that standard def vtr with tri level sync reference or even a multiformat vtr which syncs to tri-level when in 525 mode. does not work that way.
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Christopher Seguine
Sublime Films, San Francisco -
DVCPRO HD = 8bit, 1280×1080, 100mbs
ProResHQ = 10bit, 1920×1080, aprox. 220mbs
Your EX1 is 1920×1080, and per this post:
https://forums.creativecow.net/readpost/142/856265
Sony claims its 10bit via SDI.
ProResHQ would provide a much higher quality capture than DVCPROHD.
The only advantage of dvcprohd is that it requires less cpu power to decode.
Keep in mind the SDI output is always 1080i even if you shoot 24p, so you will need to remove the pulldown with cinematools if you are shooting 24P.
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Christopher Seguine
Sublime Films, San Francisco -
(gary adcock)IF you read the post, I said it can be done by adjusting your 23.98 timeline output to be at 29.97, allowing the kona card to add the redundant frames and it will properly spit out baseband video at the correct frame rate.
IF you attempt to do what you are stating you will learn that the edit will fail just as I described previously. FCP has no idea that the kona card is doing a doing a downconversion and adding 3:2, it just knows a 23.976 timeline must edit to a 23.976 tape. It sees 29.97 timecode over vtr control and doesn’t know what to do. Its been this way since cinewave, they have no interest in fixing it. To make sure nothing changed, I have a 1080/23.976 timeline, kona output set to 525/29.97 downconvert, sdi to D5 in 525 mode. Insert edit = edit aborted, Assemble = Edit aborted. no it does not matter if you disable or enable ETT polling and yes vtr xchange has similar trouble.
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Christopher Seguine
Sublime Films, San Francisco -
Edit and master at 23.98 to preserve for future distribution.
24P to Film, 1080i, 25P/50i is easy.
Make your master HDCAM at 23.98, make the TV dub at 29.97.
You can have the Kona card play out the 23.98 material at 29.97 using the control panel. Or you can have the hdcam deck do it, F500/Srw-5500/5800, when making a dub.Either way its just repeating frames.
If the tv viewer at home has a decent tv or processor, it will reverse the process back to 24p and your film will look as good as possible.
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Christopher Seguine
Sublime Films, San Francisco