[Gary Adcock]

[peter tours] “My top slot, formerly occupied by the appropriately named blackmagic card, is open. So should I move the LSI up? “

yeah- like Jared said,
put storage in the slot farthest from the Graphics card, then the LHI in slot 3.

This is my placement on every machine I own or work on, every single one.

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

https://blogs.creativecow.net/garyadcock

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

[Gary Adcock]

[peter tours] “Would my LHI get any adantage if I move it up from slot 3? “

Peter.

Card placement is about utilizing the buss, the fastest slots tend to be farthest from the Graphics cards, and since that FCP/ MAC still carries some of the legacy code regarding PCI throughput, yes, it has been my experience that the farther the Video card is from the Graphics Card- the better the machine performance.

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

https://blogs.creativecow.net/garyadcock

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

[Gary Adcock]

[Rafael Amador] “I haven’t read nowhere Gary even mention “2K”. So I don’t know why people say that Gary say anything about using HQ only for 2K. “

Rafael, if you read my reply, I explained exactly why people with a knowledge of the cameras I refer to, and assume that I am only referring to 2K and larger since those are the only cameras capable of recording a signal at greater than 10bits. For the Record Walter is not the only person to make that assumption either, and for the record THE RESPONSE IS TECHNICALLY CORRECT.

[Rafael Amador] “What is necessary is to read properly, instead of repeating like a parrot something that nobody have said. “

And That is about enough of that.

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]

[Eric Hansen] “AJA believes that the Denon receiver is introducing a delay, probably from processing the HDMI audio signal. “

Yes, I have seen this in 2 other installs.

Since you are feeding a receiver an HDMI signal with discreet audio channels from the LHI the Denon receiver is mux’ing the signal into a true 5.1 signal so that the output is correct, that process takes time if the device is not designed correctly.

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]

[Rob Grauert] “HQ is necessary for 10-bit codecs because they are, well 10-bit and higher quality. The HQ version allows you to maintain that quality, but with a more manageable file. “

Rob.
all 5 versions of ProRes are all 10bit codecs, just differing compressions ratios if you read the apple white paper on this it actually explains a great deal

ProRes 4444-{330 Mbps} is best when you need every single pixel OR when you need to maintain alpha channels, the most common usage for most people will be for Motion Graphics w/ alpha

ProRes HQ {220 Mbps} is at its best when your original content is captured at the camera 10bits or Higher, and remember that the vast majority of cameras record content as 8bit, HQ needs more CPU and drive speed than

“standard” ProRes {145 Mbps} allows you the benefit of being 10bit without the processing overhead required by the HQ codec and is really designed as THE workhorse version of the format that gives users the highest quality recording and playback from 8 bit content such as P2, SxS, HDV and even HDCam originals.

I am currently working on a disc for the Creative Cow Master Series on the ins and outs of ProRes for release later this year.

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]

[Ben Holmes] “And yet again on the cow, if I’d read Gary’s response about LT below I’d see there was a quality loss. I think I’ll stick to a G-Raid and standard ProRes for 1080i work… “

Ben
yes there is some loss, but for many users comfortable with DVCPROHD workflows, LT is more than enough (they are close enough to the same bit rate) for their needs.

Its always about making a workflow efficient for your project, I know of a major cable channel that is using ProRes Proxy for all of their on-air 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]

[Don Walker] “that ProRes HQ does not really come into it’s own until your working with 2K files and larger. Is this true?”

Can I take a stab at this?

Everyone interrupts my response because the cameras I mention in that note are mainly both considered 2K while it is technically not true, It is still a good guide.

the real reason – it is very hard to get a signal from a vast of cameras that support output signals at 10bits or greater. ( a video tap does not go greater than 10bit)- to get the most out of PRHQ you need to be working with a camera that supports LOG or RGB output over HDSDI /3G / Dual Link.

The real reason that was derived was that converting 8bit materials to HQ is an absolute mistake for the vast majority of users,(IMHO) since the HQ version requires 25%-35% more processing power to playback it would unnecessarily strain playback on your CPU without any gain in quality.

” must confess I sometimes don’t see the difference between ProRes and LT.”

get a bigger display – you can see the difference. I cannot tell on a 17 Panny, but my 32″ cine-tal is a totally different story.

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]

[Ricky Janzen] “Are you saying the iMacs aren’t innately powerful enough to operate the AJA? “

iMacs were not certified for use with any of the Aja video hardware solutions, they are architecturally not designed to handle capture and playback from FCS 3.

My response to you question was related to having both the IoHD and storage on the same FW buss- and that can cause issues and is never recommended.

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]

[Niklas Wikman] “I obviouslly forgot to write that I’m with the IoHD.”

please re-run the 7.01 IoHD installer and follow it exactly.

it should force the firmware update/ Note that you MUST be on fcp 7.01 with the IoHD 7.01 updater also.

is the delay in the audio because of pre-processiing of the audio because it is some not at the proper settings?

Have the audio files been rendered/ mixed down?

Are the audio and video files on the same or different drives? I ask this because audio requires faster seeks and video needs faster spindle speed.
When the files are on the same FW drives sometimes those to opposing actions can cause delays in the playback

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]

[k hendrickson] “I have read that you cannot monitor 5.1 surround sound using the Aja IoHD. Can’t you take the HDMI out of the unit and send it to a consumer home theater reciever and hear 5.1 surround that way”

How are you going to mux the 5.1 sound in FCP? The audio from FCP would be handled as 6 discreet channels.

Since Aja’s HDMI connections support the HDCP/ DRM security protocols, any content that has been encoded will not capture or playback via HDMI.

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