David Battistella
Forum Replies Created
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So,
1. The captures arecrapping out and you are taking the downconverted output od the JH3 deck?
2. You have no way of creating an offline that only includes the shots from the timeline with ahdnles?
The media manager article link did not help you?
select all the clips in the timeline, and drag them into a bin and capturing tose clips and then relinking those captures to the sequence?
David
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Have you run your project throuhg cinematools?
It seems like you had a 24P workflow, edited 29.97 and now want to conform 24P material in the 29.97 offline. You have to use cinematools to do that. The offline you create to recapure the HD as to be 24p, so the whole project needs to go through cinematools before FCP can determine the correct TC numbers to capture from the 24P material.The problem of the machine asking for more media than the clip has nothing to do with hardware. It has everything to do with how the offline sequence was created.
You missed the checkbox “delete unsed media from clip” when creating the offline sequence.
This article is produces excellent results.
https://www.lafcpug.org/FCP_4_trim_dang_it.html
Remember, when using FCP to conform, it like to see the online as it’s own seperate project.
Next.
The deck recapture issue sounds like the Jdeck may be set to be outputting a different frame rate than the one you used to capture. If you try to capture 29.97@ 23.98 or vice versa it will not let you do this so please ensure that the Jdeck is playing back the correct frame rate for the project.
Much of what you posted has little or nothing to do with the KONA hardware and sounds like a workflow issue.
David
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the full image is displayed stretched, inthe eyepiece and clamshell. This was smart so the letterbox and squeze modes will never be confused. It takes some getting used to while shooting, but you could always attach a LCD with aspect conversion to make your life easier.
david
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Walter,
This makes me wonder.
Here is what I know about my Aurora product. If I am sending a DV timeline out the Pipe Studio, I can tell you that the Pipe studio only outputs 10-bit uncompressed, even if I am sending a DV timeline that DV timeline comes out the PIPE at 10-bit uncompressed. The DV is being “upconverted” to 10 bit uncompressed on the output. I can often cut in DV timelines knowing that the output is 10-bit uncompressed.
On the graphics side, this is what I would love to know. If FCP is giving you an RT in a DV timeline (of a title for example) is it degrading that picture to DV and then upconverting it to 10-bit on output (I am assuming the RT title is NEVER RENDERED) in the the DV timeline.
Do you see where I am going with this one?
I have found that RT titles in DV timelines look good until they are force rendered into the timelines native DV codec so FCP is probably giving you the best quality until you tell it to render in the native DV codec.
I am not suggesting that the graphics will look as good as a 10-bit uncompressed sequence, but I think the DV tests that I have done (with Pipe) the Firewire IN/10-bit out looks better than if the DV is captured at 10-bit uncompressed. (I have seen and read the extensive NATRESS tests) I am assuming that the KONA 2 works the same way. (althouhg I have noticed that only the 8 bit playback works with DV footage and the ten bit falls apart with RT set to dynamic)
I think that with the CINEWAVE all this compresseing and decompressing of the DV codec, takes place on seperate daughtercard processing. Although there is a higher data rate (27mb/sec) you get more RT out of uncompressed (vs photojpeg for example ) because the card does not have to do any compressing and decompressing. This is why stacking RT is so easy in uncompressed (drive speed has something to do with it too) because there is no processing being done by the card, it is just an uncompressed PIPELINE.
I think that a card manufacturer would have to have the card decompress the DV and convert it to uncompressed 10-bit. The KONA 2 offeres this type of hardware acceleration for the DVCPROHD codecs. It might be cool if you could use that same “on the card” processing and have it selectable through the KONA 2 control panel selectable.
So maybe a future driver release could have the user select the processsing it wants the card to do. So if I am working in SD with DV fotage, I can use that card power to upconvert the DV while I work in 10-bit uncompressed.
Maybe we are not as far away from that as we think.
David
WHEW! I hope this makes sense!
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Have any of you ever heard that quiet little buzzing that happens to your audio maniotrs too. Sometimes after the phone has rung through to voicemail and a message signal is being sent through you can hear RF on the loudspeakers.
I have suspected this for a long time.
David
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Fred,
This looks like it may be an FCP issue rather than a simple KONA issue.
Check out this post in the Aurora forum.
https://forums.creativecow.net/cgi-bin/new_read_post.cgi?forumid=83&postid=854841
David
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Bob has a very good point here. The KONA 2 is designed around digital I/O and HD. The only analog is an RCA audio output that is designed for monitoring only.
You need to convert any analog signal to SDI to get it input, so there are add ons (converters needed) for analog I/O. That said many people use the I/O as the analog part of the Kona 2 and run them hand in hand. This gives you a very flexible package and lets you service any customer needs.
David
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Thanks for sharing.
🙂
David
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What was the Cinewave outputting?
Was it the best of the three or the worst.
IE was the DV being converted to uncompressed and the annimation being downgraded to uncompressed?
Could this be set from within some sort of control panel. I could see the advantage with annimations but not with footage as it needs to be captured anyway. (but it does save you because you would not need an SDI card on your DV deck)
David
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The Aurora products use a unity gain setting as well. For what it is worth I would prefer to see unity gain in the KONA 2 driver (or at least a checkbox as described)
It sounds like they are on this path anyway (thank goodness).
David