[Gary Adcock]

[Michael Ruiz] “Servo Reference is in the TC set up menu ?”

that would depend on which deck-
in the studio decks I believe it is in the Maintenance menu.
On the SRW1 I believe it is in the System menu.

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, IL

https://blogs.creativecow.net/24640

https://library.creativecow.net/articles/adcock_gary/AJAIOHD.php

[Gary Adcock]

[Adam Claude Jones] “So why not convert to 4444 before going into FCP? “

Adam,

I have worked on almost 50 ProRes > filmouts projects in the last 3 years and do not recommend this workflow at all. Taking guidance from someone with limited experience (only a couple of months if I remember correctly) using the the latest versions of the ProRes codec and is quoting the marketing materials and not real experience with ProRes 4444 and filmouts.

My number one reason, most film recorders work with frame based content as DPX or from HDCamSR Master tapes- if you use the workflow prescribed you will be doing 2 additional conversions that are not necessary, and with those come issues like the TC can slip with a software transcode, if the TC follows at all, as can be the case when using Apple’s media manager.

IF you want the highest quality go directly to DPX from Color not back into ProRes, if you are going to tape you gain nothing by converting the files prior to output.

Do a search on Google for ” ProRes a Closer Look” and you will find the original article I wrote on ProRes.

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, IL

https://blogs.creativecow.net/24640

https://library.creativecow.net/articles/adcock_gary/AJAIOHD.php

[Gary Adcock]

[Rafael Amador] “But there are many advantages on going to Prores 444 from the moment you have to render firs time your picture. “

I disagree.

Unless the camera captures and outputs a 444 / 12bit signal there is no earthly reason to capture and work in ProRes 4444, Use that for the graphics and greenscreen output segments only.

IMHO — NEVER transcode to a higher quality ProRes codec if you do not have a specific reason too.

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, IL

https://blogs.creativecow.net/24640

https://library.creativecow.net/articles/adcock_gary/AJAIOHD.php

[Gary Adcock]

[Adam Claude Jones] “The deliverable is 35mm filmout and digital projection for movie theaters. — Capturing the 10bit 4:2:2 1920×1080 signal straight out of the camera’s SDI to a computer.”

You gain nothing by going to 4444 in this workflow- ProRes HQ offers you virtually the same capabilities
without the extra overhead even for 35MM filmouts (which I have done and will be showing at NAB).

“What is the advantage of Cineform for cross platform?
While editing, keying and color grading will be done on a Mac, there may be some parts of composited on the Windows platform and they returned to Mac for editing finishing.”

If the editing and finishing were being done simultaneously I would say go to Cineform. however since the edit and finish will be on a mac, doing this would take away all of the RT performance on the Mac, since Cineform’s codec does not offer the same level of realtime playback as Apple’s own codec.

Stay with ProRes.

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, IL

https://blogs.creativecow.net/24640

https://library.creativecow.net/articles/adcock_gary/AJAIOHD.php

[Gary Adcock]

[Adam Claude Jones] “I know ProRes 4444 is 12 bit 4:4:4 so would I be gaining anything in using it to capture 10 bit 4:2:2 or is it only for 4:4:4 sources?”

That is only accurate when the original source material is 12 bit.

Your looking at this from the top down.

the first question is ‘what is my deliverable?” if its HD or less ProResHQ / Standard would be fine for Greenscreen work. Use 4444 when you need to maintain the alpha, as with graphics.

” I was told to forget ProRes all together and use Cineform because it is wavelet instead of DCT and is supposedly better than HDCAM SR.”

While Cineform is a great codec and recommended by me and others as the ideal codec for cross platform workflows, I do not feel that it is any “better” that ProRes HQ or 4X4.

“although there’s no way of using a 4:4:4 system like the Viper or F23, I would like to capture the 10 bit 4:2:2 “

Then capture direct at the camera and not from tape or cards, that will be the only way to achieve the highest quality of imagery you can.

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, IL

https://blogs.creativecow.net/24640

https://library.creativecow.net/articles/adcock_gary/AJAIOHD.php

[Gary Adcock]

[Alex Desrial] “Just by chance i have been specialized in video storage and i also have KiPro 😉 “

Same here, and Its no secret that I have a couple KiPro’s too.

“i make a rule my self for 70 % , in order to eliminate problems, mainly for those who works with HD material.”

IMHO that would depend on the type of drive, IDE definitely, however I am comfortable with the current generations of SATA drives- so that i feel my number (80% capacity) is acceptable for the vast majority of drive users, not just for those working from the KiPro’s drive modules.

What we do not mention is that not all drives are equal. That $99/88€ hard drive are as much a commodity on the market as coffemakers and toasters. One should not expect the same the same from a Yugo as they would a Mercedes-Benz, and I believe that hard drives are no different. What other device do we work with daily that comes with a failure rating as part of the specs? ( MTBF = mean time between failure).

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, IL

https://blogs.creativecow.net/24640

https://library.creativecow.net/articles/adcock_gary/AJAIOHD.php

[Gary Adcock]

[John Pale] “You are so lucky Zelin missed this thread….you have no idea….”

some of us were just waiting…

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, IL

https://blogs.creativecow.net/24640

https://library.creativecow.net/articles/adcock_gary/AJAIOHD.php

[Gary Adcock]

[Jeff Franklin] “Aja felt that this was not a Kona or driver problem.”

I don’t either,

I have been doing this all morning testing a workflow with SL 110.6.2/ FCS3 / Kona 3 w 7.5 drivers / SRW1 deck from and too the deck via Dual Link with out issue.

have you tried VTR exchange to lay off to tape with the same file?

my guess it is something wrong with the file.

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, IL

https://blogs.creativecow.net/24640

https://library.creativecow.net/articles/adcock_gary/AJAIOHD.php

[Gary Adcock]

[Michael Sacci] “Main thing is it copies and verifies the copy. It can also copy to multiple HD at the same time. But there website explains what it does and I even believe they have a demo version of the software.”

Correct.

I use this software and swear by it for P2 and SxS workflows, I like the added benefits from R3D manager and Clipfinder a slight bit more for RED content.

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, IL

https://blogs.creativecow.net/24640

https://library.creativecow.net/articles/adcock_gary/AJAIOHD.php

[Gary Adcock]

[Shane Ross] “(although Matrox doesn’t have a PCI-X solution). “

Or a 2K solution.

I like Shane work with Aja and Matrox products, I do like BMD’s ultrascope for the price, too bad it’s a windows only application.

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, IL

https://blogs.creativecow.net/24640

https://library.creativecow.net/articles/adcock_gary/AJAIOHD.php