[Craig Meadows]

I think the point of today’s FCP X announcement is that drivers for 3rd party devices for broadcast monitoring like BMD products are hopefully imminent.
https://www.macworld.com/article/165108/2012/01/first_look_final_cut_pro_x_10_0_3_restores_professional_features_adds_notable_new_ones.html

[Craig Meadows]

Regarding my last post using MPEG Streamclip. That is with the assumption you have permission to use the material if it is indeed copyrighted.

[Craig Meadows]

Use MPEG Streamclip to open the file from the TS folder on the DVD. Then export to any of your installed codecs and edit away.

[Craig Meadows]

Thanks Chris!

One more question; can I take out the “3D” card and replace it with the “3D Plus” version without uninstalling drivers? (on a MacPro. I assume they are the same drivers). Or would it be safer to do a uninstall and install the “Plus” as new?

Background:
We have two MacPro/FCP systems. Each had Kona cards that we are replacing with Decklink cards for Davinci Resolve and facility compatibility. The “3D” is currently in the Resolve system but when the “3D Plus” comes in this week I want to put it in the Resolve system since it’s the latest model.

Thanks again!

[Craig Meadows]

Yes, the Multibridge Pro. The BMD website does not refer to it as a V2.

[Craig Meadows]

Thanks Jeremy, that helps a lot. The questions come from a interest in the new Panasonic AF100 that’s buzzing all the forums lately.

Our camera collection over the years has included BVP3a (yes a tube camera back in the day) DXC537, SDX900, Z1U, HD100, RED, EX3, HMC150, HMC150, and sure I left something out.

We’ve never had the need for a external recorder but the idea of a AF100 with a Ki Pro Mini is very interesting to me as we are a all AJA Kona/FCP company. I actually don’t mind the avccam as a capture codec but would love to know if stepping up to a Ki Pro Mini with the AF100 would give us a very noticeable improvement.

Thanks for all your help.

[Craig Meadows]

Jeremy, I do understand what you are saying but not sure you completely understand my question.

If it’s a 8-bit camera. We are bypassing recording to the cameras recorder be it tape or card, I understand that. We are using the cameras HD-SDI BNC to send a “live” uncompressed 8-bit signal to a 10-bit device, the Ki Pro. The signal coming out of the camera at that BNC is still 8-bit, correct?

If the camera is only capable of outputting 8-bit via it’s HD-SDI BNC connector, you cannot magically increase the color information (i.e. the bits that make up the original color) just by recording to a 10-bit device. What you have is a 10-bit file with color information from a 8-bit source. There’s no way you can add extra color information to what’s not there.

Yes, the resulting file will be 10-bit but the original color information that the 8-bits used to create that color has not changed.

Now we move to post. If this had been a 10-bit camera outputting 10-bit from it’s HD-SDI port we would be fine. Instead we have a 10-bit file but not more original color information than was available if it was 8-bit, but, more bits to push around.

My question is do users see a improvement pushing 8-bit original color source around a 10-bit environment? Can you push grading more than if it was 8-bit? If a colored sky or gradient bands in a 8-bit work flow does it also band if you have done this 8-bit to 10-bit capture process?

[Craig Meadows]

Thanks Gary. I got that camera list from another source online, my apologies for any misinformation.

The reason I ask is that the folks over at RED say with 8-bit the damage is already done (in regards to grading), it does not matter if you you are recording to a 10-bit external device like a Ki Pro if the HD-SDI on your camera is only outputting 8-bit.

Meanwhile, over at Cineform I found a white paper stating that a 8-bit to 10-bit conversion using their codec (keeping in mind it’ wavelet based) does help in grading. They demonstrate with a gradient blue sky shot. All 8-bit shows banding, while their 8-bit to 10-bit codec does not.

I am curious to know if the 10-bit ProRes file from a Ki Pro allows for better grading in post (like the Cineform example above) if the camera is only outputting 8-bit. Or, should you just stick with a 8-bit work flow if there is no real advantage for recording to 10-bit.

Any real world examples or Ki Pro user comments greatly appreciated.

Thank you.

[Craig Meadows]

Does the camera matter? Not trying to sound flip at all but isn’t it about the math regardless of camera make or model?

lets say any camera that outputs 8-bit 4:2:2.

All these cameras output 8-bit 4:2:2:
Sony F900
VariCam
DVCPRO-HD
HDCAM
Sony PDW800 with XDCAM-MPEG422 at 50 megabits
Canon XF300/XF305 with MPEG2 at 50 megabits

[Craig Meadows]

Bob, once again your quick advice and expertise is greatly appreciated, it truly is, thank you.

Tomorrow I will try your suggestion about running a clip off the system drive. On a G5 Quad this drive has been finicky for quite a while; it mounts, doesn’t mount, typically mounts then displays “Initialize, ignore, eject”. After we select “ignore” it works just fine on all kinds of SD/HD projects. It is also quite temperamental on start up and shut down.

I anticipated having to wipe it before attempting to use it on this new Intel MacPro but, thought surely I could just move the controller card to the new system, fire it up and go! Ah technology!

Have lots to back up before I can reinitialize it though, will let you know how it goes.

Thanks again!