David Battistella
Forum Replies Created
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This sounds like a deck issue. Are you getting channel condition errors on the deck when you layback?
David
Peace and Love 🙂
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Jim,
I hear you. Workflows are being invented every day now. There is a lot of information flying around and only a few proven theories. Producers make choices based on one conversation, a deal or instinct. What comes out the other end (the post end) is having to deal with all of it.
5.0.4 was the first FCP release that would import P2 media. Media 100 hasn’t even implemented it yet, nor have some others. THis is the very begining of P2 on a very wide scale and all of the challenges are coming up at the same time.
You are getting some good advice in this thread, I did not mean to snip.
David
Peace and Love 🙂
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If you shot 24P A mode then it is very easy to extract the frames when capturing the footage. It was designed this way. FCP can remove them on the way in onthe firewire stream, if you have set up a proper capture preset.
Do not insult the software if you are not using it properly.
David
Peace and Love 🙂
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If you are working in a 24P sequence then the best thing to do is export the 24P (24fps) timeline out of your NLE as a tiff sequence.
if you are exporting a 29.97 sequence then I suggest a DV Quicktime.
David
Peace and Love 🙂
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THis thread will be a can of worms but here is my two cents.
Even if you capture in the DVCPRO50 codec, you will preserve the picture quality better if you render the final spot to 10 bit uncompressed an do all of your GFX work in that color space.
Tha last thing you want to do is compress a compressed image which is what you would be doing if you render out DVCPRO50 sequences instead of the Uncompressed codec
The easy thing to do is to think of it in terms of photographs. Would you take a JPEG and Add more JPEG compression or would you convert it to tiff and keep it lossless.
As far as the frame size goes, the DVCPRO50 codec shoots 480vertical and there are six Xtra lines in 10 bit uncompressed. You do not have to have a 486 sequence size in uncompressed, you could create a custom set up that is uncompressed with 480 frame size to avoid any scaling issues or you could scale up the 480 and be sure it sits on the correct scan line so that you do not confuse the field order.
By wrking uncompressed you increase the data rate, while you will not gain more resolution, the important thing to consider is that you will not LOOSE resolution or color reproduction in the uncompressed color space.
David
Peace and Love 🙂
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I have always understood this to be a limitation of the KONA driver, as other configs do have RT in 10bit HD.
David
Peace and Love 🙂
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I think this is a problem with the KONA driver as I know that this problem does not exist when using “other” cards.
I wonder if an upcoming release will ever solve this?David
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Most RT is limited to the following three factors.
1. The speed of your computer and the amount of RAM
2. The Speed of your drives
3. The compression and codec you are working in.When FCP went to the internal/processor based RT extreme engine which placed the processing squarely on the computerss processors instead of off board, third party processing, then these became the mai factors in determining the RT performance. Rarely does it have anything to do with the video card as it is
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This sounds like over modulation problem or depending on the model of the wireless mic radio interference on the heads at the time of recording.
David
Peace and Love 🙂
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I replied in the other post.
David
Peace and Love 🙂