[Gary Adcock]

“While I know that there is no rack mount available currently, has anyone out there built a set-up with multiple units? “

I have designed a couple.

what’s wrong with the mount points on the units themselves?

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]

[Jeremy Garchow] “If you are on Snow Leopard, 250GBs is 250GBs due to the base10 count.
So less 10% that would be 225 Gigs.
“

ah, the KiPro is NOT running Snow Leopard, and since it formats drives based on its own operating system, that would be a bad idea, since that number {225GB} does not take any of the hardware related file structure and directories into account which reduce that available amount of space even farther.

These are all hard drive/ scratch disk basic issues. The reality of how hard dives work and function does not change because that drive is no longer attached to your mac. These drives follow the same rules as those on your edit system do.

You should NEVER fill a hard drive or drives to more than 80% of the listed volume size !!!NEVER!!! This can cause directory structure errors and temp file failures as the files are written over in attempt to handle the excess data.
Not to mention that virtually all disk drives slow in read/ write speed as the drive gets closer to the maximum amount of data it can hold.

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 Craven] “Copy that, but either way I’d like to know what the actual recording capacity of the drive is with the 10% buffer. I guess I could just figure it at 200GB to be sa”

Good idea and that is about the number I use

at minimum at least 10% of the space is taken up by the directory and that structure varies depending on how many, and what types of files are on the drive.

My rule for ALL hard disk drives is to never fill them to more that 80%, so that 200G volume level is almost exactly what I go for. This is as much a performance issue as it is a “health and safety” issue.
(my health and the contents safety)

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]

[Kenyon Blower] ” The system worked great except that with about 10 minutes left in the show, the KI pro stopped recording. It said 10% left on the display and would not record any further.”

That is correct, the unit is not designed to work until full, it will auto shut down when there is less than 10% of the active volume left, this is designed as a safety measure and is common in every disk based recorder I have worked with. (have you ever noted this limitation with scratch disks is within FCP also)

My question is why? if you are starting and stopping the recording process, why not swap out of drive while you are doing that, I have a good deal of practice and I can easily swap a drive over a commercial break.

What kind of show are you recording and how? I have now done a couple of large multicam shoots (6-10 cameras) on 3 hr concerts and not run out of room on my setups working with ProRes(non-hq) and all were done at 1080 60i.

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]

[Kenny Fields] “If the signal is the same, then how come when I monitor footage directly from my deck I get no flicker, but when I monitor the same footage from my FCP timeline, I do see flicker?”

Check the FCP field dominance, it would not be the first time apple forgot what side of the planet.
Also check to make sure the Kona Control panel/ Codec is set to show “frame” and not “field”.

One other thing to try is open the FCP Seq settings and set the field order to “None” just like when trying

“The material on the PAL 25i timeline has noticeable flicker when paused on a frame with action. “

I am really betting on an incorrect setting in the control panel.

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]

manfred.

This is an incredibly broad request, we are talking about literally 1000’s of devices.
Have you looked at the support area for FCP on the apple web site?

FCP has access to virtually all decks or cameras when using3rd party hardware cards to capture and playback video whether it be over HDSDI, HDMI or Analog Component.

I use both AJA and Matrox products that can handle this task and this is the way that most professional editing is done.

While some manufactures decks support FW, most higher end tools do not.

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]

[Steven Monk] “gary – i’ve never had FCP7 on this machine so i don;t understand what you are saying, sorry. “

there are 3 additional versions of the ProRes codec in FCS3 that did not come with FC Studio2 and you stated “i can’t setup a sequence with it or edit existing projects that use ProRes. “ so I assumed that you might have been working with one of the new codecs that are not available in FCS2

To correct the other poster- the ProRes codec was introduced with FCS2 which contained Final Cut Pro v6

Try something else- can you see a ProRes file created on another computer- or does the QT frame show all white?

My guess is you are looking for something that may not be a default. What are you trying to do and what camera and frame rate are you attempting to capture from.

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]

[Steven Monk] “i just installed FCP6 on my new macbook pro and the ProRes codec is missing. i can’t setup a sequence with it or edit existing projects that use ProRes. “

FCP 6 only supports 2 of the versions found in FCP 7 – ProRes and ProRes HQ.
so no if that means you are trying to work in Proxy, LT or 4444 the other versions of the PR codec- it will not work.

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]

[Kenny Fields] “The problem now is that I have interlaced picture, not progressive. This will create a problem for my client down the road. “

why, the signal is the same?

If your original was an HDcam tape, it was recorded with a Sony camera and it will be PsF or Progressive Segmented frame, the method that Sony applies to all 1080 content their cameras capture.

[Kenny Fields] ” The same action on the tape does not have any flicker because it is truly progressive. This is noticeable on our Sony CRT, not on our LCD’s.”

EHH???? if it was a TRUE PROGRESSIVE signal, it would not play at all on a CRT, since CRT’s cannot handle a 1080 signal as True Progressive

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]

[Boris Missirkov] “I had the impression that the “native” Red card offers some benefits in working with Red’s RAW files instead of exported .mov files. That’s not so much of an issue for the time being, anyway – so let’s skip it.”

Not with any 3rd party cards,
since the Redrocket and a Kona card CANNOT reside in the same machine at the same time.

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