Fred Jodry
Forum Replies Created
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-and while making all this good video make sure you give yourself plenty of good workable editable audio.
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One of the ways to improve your machine universally is to drop in an improvement seemingly outside it`s box. Drop in a compatible raid card, scsi or similar, then cable it to a harddrives box on the outside. The improved harddrive or harddrives will improve performance universally and running it`s own power supply and fan. The Mac Pro can use ECC (stands for error correction code, also known as parity), DDR3 memory. Make sure it has it. It`s another “no brains, no adjustments” improvement. Open GL software works if you happen to have people with brains in their heads the size of your desk next to you. I`d be more worried about putting Windows software in a Mac.
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Congratulations, Stephen.
The booby prize for 1,000 posts is that your 1,001st post gets to review the new printed circuit board that comes encased in tar while the rest of us try not to laugh. -
Ben, the video to your NTSC monitor is in analog, is your 1080i too? Try running the output through a VTR or digital VTR to use it`s low pass filtering as a test. Maybe, “Wait, it gets worse”. Could it be a mismatch from your JVC? At least you aren`t running across choppy audio edits and vertical (horizontal chops) in the video and it`s edits so it`s not a frame rate or typical “low horsepower” problem. Try looking at the horizontal synch pulse going to the NTSC on an oscilloscope in the line. If the JVC or 1080i monitor uses analog, test with the oscilloscope in line there too. an open ground return on the synch cable either between the camera and the Kona, or between the output and the monitor is plainly possible. Composite (vertical and horizontal combined) synch signals can go defective too.
HD in an SD sequence trouble Kona LHe
by Ben Kalb on Aug 31, 2009 at 11:40:47 amI just installed FCP 7 and have a AJA Kona LHe with the newest drivers. I shot HD footage in both 720P60 and 1080i60 with my JVC HM-700 camera.
I’m trying to place my HD footage in an SD sequence. Everything looks fine in FCP , but on my NTSC monitor the video is very aliased and shaky. I’ve rendered the sequence entirely, and video does not look this way with other regular SD material. On the computer display, the video looks good.
Surprisingly, the 1080i60 footage looks much worse. I’ve tried changing field dominance, but with no luck. I expected the conversion to be very clean, especially because my frame rates match.
Any ideas where I should start? Anyone else have similar problems?
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Sam, here`s what usually works for me. Order a perfectly good Pioneer or Plextor or – – replacement. Take the old NEC recorder and leave it with no wires attached on a hot (weathery, hot and cold) shelf for about 2 months. Take it apart, give it a good cleaning, reassemble, then install it, whether in the original machine and with the original software, or not or not, as best as your chores do. See if it plays disks now. Then try to match it up to recording software and it`s first project again, giving the software and it, at least 2 minutes to detect each other. If this doesn`t work, I think that your NEC might be the same machine and different C-mos recording as a Plextor PX-504A. Mail it to them for a rebuilding if you want to. The NEC DVD recorders I`m familiar with were originally issued in some computer brands to be marginal or unable to record on DVD- blanks. Still it`s sensible to make DVD- blanks recordable on them as they are the standard original boot kind.
Burning DVD’s
by Sam Faul on Aug 10, 2009 at 6:25:29 pm
Help! My drive does not recognize a blank disks anymore. Through a series of uninstalling/reinstalling some software on my Dell 2400 (including Nero), my NC2500A burner using Nero6.6 will no longer recognize a blank CD/DVD- in the burner. I have spent 30 hours reading, e-mailing including nero (no help). NEC Zero help also, their site says i have the correct driver and will not let me reinstall it from their site. It will recognize DVD+ ONLY. I have 3 stacks of name brand CD/DVD- . I also have a newer printer that will burn a label on disks but what I found in printable CD/DVD’s are in – none in +. This burner worked fine before the un/reinstalling programs and using the same brand disks. Any suggestions?
Appreciate any help.
I hope this is the appropriate place to post this. -
Typically you ask a Television Engineer or Television Broadcast Engineer about monitors (a.k.a. displays) and cameras themselves. There`s enough to learn though that you`ll likely should learn it on the telephone or in person not make us type until our hands fall off.
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Obviously you have found an (anamorphic? right word?) camera lens. Here, most of the various convex and concave lenses which make it are not simple spheres but rather oval slopes to describe them within reason. Since you`re not using it fixed settings on film then varying the vertical and horizontal scans on a flying spot scanner (like a Rank telecine) or similarly a pickup tube scanner, what you`re getting is useless. Another possible problem but not necessarily the biggest one, but again, possible, is that Fuji zoom lenses are made way too small for their job causing giant pincushion and barrel distortion. Since you`re working with a camera that runs far more scan area horizontally than vertically, these distortions, simply center to edge nonlinearity, can look like vertical versus horizontal distortion. Typically, using a physically large high quality zoom, usually with more back- focal distance will reduce this distortion a lot. I also use almost nothing but Cooke “prime
lenses” myself. (And also good lenses get you away from incapable iris and zoom servos). If you need a custom quality lens, you may e- mail me. I`ll send you to my best supplier. -
Peter, my guess why there isn`t a Forum for the 35mm lens adaptor users is mainly that it`s sort of lenses kindergarten. There`s also the fact that we bump shoulders endlessly on the street with people who use 35 mm lenses and their adaptors on their still cameras bayoneted on them the same way as these little lenses attach to the somewhat more ambitious 35 mm movie film or TV cameras. That said, let`s concentrate on a few common sense basics. The biggest difference between lenses that can go on your camera and those that can`t be used is back focal distance. When light goes through a focussing lens it makes a brighter imitation of going through a pinhole of a pinhole camera. But a focussing lens unlike a pinhole also means that the image (source) in the field maybe an “infinite” distance from the “pinhole” inside the lens barrel yields an in- focus image a specific distance inside the camera body where the photolayer, be it film, TV photolayer, or the ground glass of a viewfinder happens to be. If the image from the field is closer than infinity then the camera`s focussing point is always, and usually conveniently, somewhat farther into the camera body and you easily refucus for this. The trouble is, the focussing point from the “pinhole place” inside the lens barrel can easily be not far enough into the camera body to do the job. The biggest problem here is usually that there is usually a cemented set of dichroic prisms that split the light from the lens into 3 taking color primaries for a TV color camera typically worth more than spit. A filtre wheel and more can also be in the path. This means that color TV camera lenses for the good cameras accomodate back focal distances from 52 mm or more, the same as prism viewfinder cameras and the other splitter color cameras such as Technicolor cameras. It doesn`t help that some lens mounts have long rear castings sometimes intended to crummy their lens`s use down to specific camera types. Other lens options like iris gears, are obvious. Although there certainly should be a better Forum area for this, reading the back focal distance right off of the front of lens information happens to be your first parameter in identifying a lens`s use. That means that image size determination in mm (There`s fewer words describing this but I forget what they are.), back focal distance (from infinity`s take), and F- stop (brightness) are the three main parameters of a lens. A fourth parameter is the width of acceptable image diameter on the photolayer side.
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Gary, I use regular Red, Green, Blue, Synch, into the mixer board instead cR (red minus luminance, R-Y), cB (B-Y), Y, or it`s almost equally difficult R, B, G + S version. Using these difficult versions means that two types of clamper circuits, one type for the red and blue differentials, and a much different type for the green or luminance because the synch would have to be stripped and maybe reinserted right away and really requiring two clampers here, would have to be built onto nearly every input and output of the mixer and obviously asked for only by people who have no brains (hence not TV people). I`d rather make tin toys for my kids at my soldering desk or do my regular work than make crazy circuits for (…no…) reasons. It`s easier to make mixer circuitry if one doesn`t have to make extra clampers of two types that can`t work evenly anyway. We presently use two mixer boards. Each identically uses switches and mixing, has a few test inputs as well as black or blank, and handles both audio and video. I also spaced in a pair of master toggle switches specifically for turning on low power fans such as on the cameraman and for a utility. The transistorized one is awfully regular but can go sour as fast as baby`s formula. The vacuum tube one burns only a watt a tube but it`s circuits would outlast (and outperform) the Roman Empire without blowing a single tube because there`s a resistor on each heater and has the the advantage that I can stick any and every microphone whatsoever into it and hear nothing but its sound, something the transistorized one can`t really do. Which one gets stored or which one gets used has to do with whether the mixerman doesn`t mind the bottom of the vacuum tubes one touching the tops of his knees as well as which one is maintained clean at the time. I made the mixing boards as well as importantly, their cables and identically sized power supplies. Hence no model names.
The post at the top of the topic was,
I am looking for a red, green, blue, synch, camera capture card, AJA Kona or otherwise. educationalbroadcasting@hotmail.com -
Hi, Gary, I am capturing from video. The originals are B/W, or, red, green, blue, and synch (various forms of combined and non- combined blanking and synch are available out of the mixer board), hopefully after the gamma corrector so the computer won`t have to do any rendering it absolutely doesn`t have to do. The synch most of the time is regular RS-170A. Naturally our pair of new guys on the camera and set- up box always hit their head…(phones) on the ceiling of the pickup car bigtime when either our VTR guy or studio returns some (my technical name, “video from Paris”) into the synch generator`s genlock input and makes all the deflection yokes in the camera or cameras sound like BB`s getting dropped into a racing Osterizer. Fortunately the VTR and computer don`t have to quit their jobs and make it a clean sweep although bigger jobs and tortures foisted on the same little mice are in the planning stage.
The previous posts are below.
[Fred Jodry] “I am looking for a red, green, blue, synch, camera capture card, AJA Kona or otherwise. educationalbroadcasting@hotmail.com”why don;’t you explain what you are trying to do..
that connection sounds as if you are trying to capture from a VGA / DVI converted computer source- if so there are some inherent issues involved since that is NOT a video signal.
gary adcock
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