David Battistella
Forum Replies Created
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Is this a film finish?
The film can be mixed to a 29.97 beta SP master. The sound would then have the pulldown added when they go back to film. I am farily sure that protools will be locking to the 29.97 source as reference so the OMF should work. If you are concerned about this then copy the 23.98 timeline into a 29.97 timeline and export a second OMF from there.
If it is not a film finish, why cut at 23.98?
David
Peace and Love 🙂
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Is this treu of every type of blur or just a specific type?
David
Peace and Love 🙂
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Gary,
I know that all the incamera’s are 8-bit and there are inherent problems with 8-bit (banding, etc). I wasn’t acutally stating this as a dig at the Panny codecs (which I think are awesome) but I was just suggesting that with ANY 8 bit codec you can run into these problems (noise, banding, gradient reproduction, etc.
Because the Panasonic codecs are so well optimized for size
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Cinema D mode is designed to increase the Dynamic range and while keeping a nice film gama curve so this might help if it extends into the blacks. The Varicam, and the HVX with both have the “purpley blacks” problem but I do not see this as a huge issue. This will be easily corrected in post.
What I was suggesting with the AE thing is that perhaps you can replicate the DVCPRO codec problem to determine if it is the codec by rendering shades of blue/black/grey type gradients to the DVCPRO CODEC.
It is well known that even the brig brother Varicam had problems with solid blocks of color. I have seen big blockies in sceneswith predominant wall color. If the $90,000 big brother does it then I am sure we will start hearing reports from HVX users.
The DVC codecs are not without their minor limitations. In post we inist on capturing footage uncompressed because we want to limit or eliminate the incidence of picture degradation. The DVCPro codecs are very clean and very efficent for their size,
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I think htat this is also a CODEC issue. If you read through varicam posts you will also see a similar problem in the blues and blacks. The newest varicam apparently addresses this.
There are probablby already five times more HVX users to Varicam users out there right now, so this is why you see this post more often.
I have seen these noisy blacks problems on varicam footage. I am starting to think it has somethiing to do with codec limitations. It is an 8-bit codec that is being recorded and with all of the compression involved, something has to give.
This is just the first time we are really seeing it en-mass.
This is a mostly a hunch but I think it is a god hunch.
Maybe if you render some dark blue gradients in AE to the DVCPRO HD codecs you can start to challenge the codec instead of the camera because the images coming off teh chip are probably very clean.
David
Peace and Love 🙂
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Is this approved for OSX 4.5?
Anybody running the latest Apple OSX.4.5 upgrade?
David
Peace and Love 🙂
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Sorry,
The cabling is included. that is a relief because those cables would be expensive.
David
Peace and Love 🙂
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Plus,
Have you noticed that the laird 1400 will require custom cabling for teh component outputs. Factor that into the cost of your router.
Also. Are you running a KONA 2 or and LH, it’s not clear.
David
Peace and Love 🙂
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There are a couple of options.
1. An SD/HD Component DA. (expensive and hard to find since the point of digital signals is HD SDI routing).
2. An AJA io (this is what most people choose because it gives you full analog SD monitoring)
3. Convert the Beta to SDI with a AJA mini converters. One for the in and one for the out.When looping the K-Box output watch out for termination issues when you are trying to view HD on your critial monitor. It will mess a few things up if you are looping to SD only monitors (at least this is what I have noticed when working with 720P varicam material where it creates a wierd ghosting until you pull the Y cable) 1080 is less of a problem.
David
Peace and Love 🙂
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Steve is right.
If you do not have a BB gen then you should ONLY have the video IN patched to the K-box, the Kona reference then should be se to input video so that he KONA is locking to the deck’s input. Do not send an OP from the Kona to the deck’s in when capturing this way.
This could also be a tape problem. You should check to see if there is a channel condition light flashing on regular playback.
David
Peace and Love 🙂