[Gary Adcock]

[Vincent Caravella] “When I bring footage into Final Cut Pro that has been captured with my Ki Pro I am able to work fine until I want to Media Manage.
At that point Final Cut is not deleting unused media from anything that was captured using the Ki Pro. Usually when this happens, it means someone has forgotten to add a Reel name to the piece of captured footage, but in this case the Ki Pro does, in fact, have data in the Reel field. “

Vinny

I wonder, this is the same for R3D and ArriRaw files, so I wonder if this is a flag that has been added to the QT stream to indicate that it is an original master file??

it is not an issue with the KiPro but more something with the way that FCP is internally flagging the content it sees?

and I am as stumped as the rest of you.

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]

[Juergen Baumann] “There is no Audio coming out of the AJA although i have set up everything (I hope) in FCP to get it to work.”

how is your audio connected to the deck? the 1800 is analog only so have you set the correct easy setup for your project and configured the Kona control panel ( found in your applications folder?)

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] “I did do a mix down, it didn’t help. The slugs were the only thing that would help & it instantly fixed it. “

CAREFUL.

Slugs in FCP do not always match your timeline- All Generated files in FCP are NON DROP – so if you are working with DF timecode in your timeline-the slugs will nudge your timeline out of sync also.

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]

[Aaron Pulicano] “What were you findings during your tests?
And what hardware did you use to determine it? “

As I said in this post
https://forums.creativecow.net/readpost/98/875869
My tests using Leader and Tektronix scopes do not show a full range signal from WII or PS3, IMHO I doubt your Xbox is different.

Look Aaron, working in full range is not something you want to do when working in video its not designed for it- in the video space working in “full range” is full of issues. The only time I work in full range content is from DPX files converted from35 Film Scans- I do not capture or work in full range content when working with video formats.

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] “Believe me, it’s not by choice”

Michael,
Remember to Fight the Good fight and this is one them.

Explain to them that it may cost them upwards of 2x-3x the amount of time in post ( and equate that to the cost on set) if they try to avoid conventional wisdom, thats all you can do.

I would make sure that you send an email explaining this huge ramification in post compared to the minimal cost to do it on camera, so that when they come back to you complaining about how much extra work it was for them to shoot this way, your butt is at least partially covered.

It is ridiculously simple to do multi-cam when all of the clips have synchronous timecode, as compared to manually having to re-sync every shot one by one.

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]

[Tim Philo] “The “spigot” isn’t going to send to Final Cut, is it? In Capture Now? “

Final Cut cannot capture TLC.

You need to use AJA’s VTR exchange app to capture LTC timecode, Final Cut cannot understand LTC over anything other than 9pin serial.

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] “Hi tim,
You can not do it. The ioHd is able to pick an external TC through the RS-422, but no from the SDI. “

That is incorrect.

The IoHD does allow for LTC timecode capture via HDSDI, it even has a dedicated spigot on the back of the unit for LTC.

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]

[Aaron Pulicano] “I do not own the Xena LHi card yet (still thinking about it), so I can not tell you the available options on the Kona control panel. “

The LHi and all capture cards are essentially designed for capturing for broadcast and they are not graphics cards, as I said the default of the card is to capture as SMPTE since the Kona’s are designed to acquire and playback video content in a broadcast environment.

While your google search is interesting,those were not my findings in a test last year.
I tested for myself as I find info on the net is often less than accurate.

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]

[Aaron Pulicano] “Games from HDMI sources like Xbox 360 for example (Playstation 3 and P.C as well) are all native full range RGB.”

That would not be my experience, how are you testing for Full range output?

Virtually nothing in the “video” world outputs in Full Range, in my experience full range content is only generated and used by the highend film facilities or those working in LOG space, so they can maintain the maximum. Even the default on your Kona Card is SMPTE not Full.

What are the HDMI settings in the Kona Control Panel tell you it is set to?
(this is also the reason I use a converter instead of the internal HDMI – then I do not need to worry about changes to the settings caused from software updates or format switching)

My tests using Leader and Tektronix scopes do not show a full range signal from WII or PS3, IMHO I doubt your Xbox is different.

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] “How? When FCP imports footage, it doesn’t change anything. It just makes a clip that points to the media as it exists.”

Not exactly.

I just finished (yesterday) as Tech weenie / Second Unit on the upcoming Zacuto DSLR Shootout 2010, where with the help of DPBob Primes (a.s.c) and UK DP Phillip Bloom we did a real honest comparison of 5 DSLR’s vs 35mm motion picture stock (kodak & Fuji) in 5 different tests designed to push even the film camera to it’s limits.

We went the whole route on this test, including 2K and 4K scans of the film stock, with all 5 cameras being matched against the film master in one of the top grading suites in Chicago, one of the things we found out was not all files import in the same manner.

Stay tuned on the Zacuto site for more info, I cannot let the cat out of the bag til NAB.

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