David Battistella
Forum Replies Created
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From my pure understanding, and I know people will chime in, is that Tri-level sync is required when outputting to HDCAM at 23.98 fps.
When outputting at 59.94 a regular sync source works, this can include the KONA video OP.
I am going to do my Bob Zelin impersonation now:
“LOOK! Just sheel out all of the money in your bank account and buy a tri level sync generator. You can not call yourself a working professional if you want to chintze around and cut corners. Tri-Level sync is a necessary evil and if you are working on projects that warrant it, then you should have the budgets to afford a tri-level sync generator, otherwise you are a cheap impostor post house that does not deserve the business because you do not have correct tools for the job. ”
🙂
Peace and Love 🙂
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I am sure that the camera mechanism was not really built for the bulk capturing from source tapes.
I feel for the owner of that camera. The VTR section must be taking a beating.
🙂
David
Peace and Love 🙂
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My apologies. I made a mistake regarding the options with the SR deck.
I would contact apple’s FCP team to see if this deck has been approved yet for FCP. Maybe there is a patch.
I would create a custom set up with sony VTR control.
I would capture via HD-SDI to the DVCPRO HD codec.
Put a call in to AJA tech support to see if they have a custom setup they can e-mail to you in the interrim.
David
Peace and Love 🙂
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Uhh, antonio,
the 200 does work in regular DV. it can record to a DV tape without issue. So it is a native 16×9 camera that works in DV.
Also, based on how it was explained to your DP, he interpreted the pot wrong. It is plain as day from that post that you should be shooting with squeeze or the adapter.
i’m outa this one!
david
Peace and Love 🙂
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Antonio.
Here is the difference. If you shoot 4X3 you are going to have to cut part of the picture off to fit into a 16×9 frame. When you shoot letterboxed you are shooting 4×3 but you are chopping off the top and bottom of the 4×3 rame. When you shoot squeeze (or with the adaptor) you are putting a squeezed image to the full 4×3 of the tape. I am shooting a film like this now. So when you go to project a squeezed image in it’s correct 16×9 aspect, then you are getting the full resolution avaiabl to you.
I shoot stuff in squeeze mode. There are a few advantages to this over the glass.
1. The gass is heavy and if you add a matte box and filters it is a lot of wieght to add to the camers
2. You loose at least a stop with the glass in place.
3. It is not a zoom through, so you loose a lot of the range of your zoom lens.You here a lot in here about ‘shoot with the adapter, it’s cleaner, etc. I find it has more disadvantages than advantages. Frankly the DV color space and tape format barely warrant the use of the glass. The was on oversight with the original 100a that you could not shoot in squeeze mode while in 24P mode. This was corrected with the B. The solution, tell everybody to shoot with an $800.00 piece of glass.
If you shot some side by tests between the glass and the squeeze you would quickly se the advantages or disadvantages of both.
David
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Since we are recomending converters here is what I think is much more reasonable than the flying cow box.
https://www.behringer.com/SRC2496/index.cfm?lang=ENG
Much better deal and more options.
David
Peace and Love 🙂
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I do not see aalog as a choice in the INPUT TAB of the control panel, analog format menu.
I am running the 1.2 driver.
Are you sure this is the right driver. That makes sense for the LH but not the KONA.
David
Peace and Love 🙂
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How about this,
Cut the HDV natively and then just render the cut in DVCPRO HD, do your CC, etc at that stage. But i like the idea of bringing it all in with the DVCPRO HD codecs off the bat. That way you never really have to look at HDV at all.
In my tests the HDV rendered to DVCPRO HD visually looked sharper than DVCPRO captured. I would attribute this to the crappy D to componet converters in the HDV deck.
Until I see an HDV deck with an HD-SDI out (which will cost twice as much as the deck for the board alone) I think the sharpest will be HDV to DVCPRO HD transcode.
Test a bit of footage, you will see what I mean.
David
Peace and Love 🙂
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Antonio,
Jan is right regarding your cutting your story. I am a firm believer that every experience should be a learning one.
1. You DP was wrong. You lost vertical resolution by shooting in letterboxed mode. Had you shot in squeeze or with an anamorphic adapter you would be using all of the tapes information to record both extra resolution and pixels. By shooting letterboxed you basically recorded black pixels where you could have recordeed picture information.
2. An HD transfer to HD looks better when it is shot anamorphic because it retains the aspect ratio of HD. Now you are in a position of having to further “blowup” your image to fit the HD frame.
3. HD does not add “sharpening” to your picture. If anything it will look softer because it is being blown up as much as you can possibly want to blow it up now. HD bump ups do not fix problems, usually they enhance them so going to HD without proper color correction in the 2K cineon film space will is preferred.
4. Get a good film house in your area to consult with you on your workflow next time and unless your DP has been through the process and can show you results, then you should come up with a Digital to Film workflow before you shoot your next film.
I do not want to rain on the party but there is much to learn in your experience and you can achive better results with good planning. The way you shot it is the least optimal workflow with DV.
David
Peace and Love 🙂
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Bob,
If you are coming off an SR deck then I think you should examine your workflow choices.
The SR deck does not output 720P and the KONA 2 does not do a cross conversion from 1080 to 720.
Maybe you could choose a 1080 DVCPRO HD codec to do your offline in, might eliminate many problems.
David
Peace and Love 🙂