Gary Adcock
Forum Replies Created
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[Daniel Edelman] “We have a client who asked if we are capable of doing an uncompressed 4:4:4 capture into FCP 7 (lord knows why). “
there are any number of reasons and if you do not know why 4:4:4- maybe this is a job for someone else.
“We currently have an available 4TB RAID chassis (SATA Drives) that runs at 3Gb/s through a PCI express mSAS card. I’ve read that the 4:4:4 will need roughly 300MB/s so the 3Gb/s should be satisfactory.”
First transfering Gigabits is very different from playing Megabytes, since you do not mention what array or how it is configured there is no way to know if it is fast enough,HAVE you Tested it with the AJA or BMD tools to see?
If you have then maybe you should test the workflow, the 5500 will output or capture DL from a Single link tape why not try capturing?
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, ILhttps://library.creativecow.net/articles/adcock_gary/AJAIOHD.php
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[Joel Arvidsson] “Why is it different colors in shakes output throw aja than Fcp?”
Shake handles content in an RGB space, FCP works in YUV, Depending on which OS and APP versions – YES there will be differences in what is output.
“.But i would like to match shakes output to be as fcp.”
You can setup Shake to view content as YUV like FCP does via the output, but remember that this product has been discontinued by apple. so what ever you do it will have to change.
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, ILhttps://library.creativecow.net/articles/adcock_gary/AJAIOHD.php
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[Alex Desrial] “Well, supposed that I use ARRIFLEX D21 which has VFR capability while the KiPro does not have the VFR function ( at the moment)”
3 problems
the Arri’s T-link is a proprietary connection technology that requires 1) a dual link or fibre optic connection to a device that is 2) Capable of capturing 1080p 50/60 content and that is currently only available on modified SRW1 decks or via Stwo or Codex capture devices.
Lastly the D21 does not generate the RP188 VFR protocols the same as those used by Panasonic and others.
“What will happen if I shoot 720p50 material and record it with KiPro ? And what is the result ? “
only SMPTE standard video stream are viewable by Aja devices,
720p50 is recorded as 720p50, what did you expect?“Does KiPro still record any video ( what rate) on the HDD ?”
The unit records what ever legal video signal it is sent, SD or HD, with all standard PAL or NTSC frame rates.
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, ILhttps://library.creativecow.net/articles/adcock_gary/AJAIOHD.php
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[Jeff Kirby] “Is there a way to change my settings in FCP so my audio will be 24-bit in my sequence and when I render, that way I don’t have to do a Quicktime Conversion to output? “
then you would have to change the camera settings, since that is where most audio originates.
” I did notice there is no 24-bit audio option on AE, thus comps with audio cannot be rendered and immediately used on the KiPro. “
which is why I do not tell people not to try using AE content by copying onto the KiPro.
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, ILhttps://library.creativecow.net/articles/adcock_gary/AJAIOHD.php
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[Jacob Goldman] “I meant to ask if Apple ProRes 422 [HQ] was progressive or interlaced. But I now realize that it’s 525i29.97. So there’s my answe”
ProRes is a Codec.
it can be either the simple rule of thumb is 720 is always “P” as in true progressive.
1080 is always played back as interlace or as PSF (progressive segmented frame)All 1080 footage for Broadcast is interlaced- even when shot as progressive, https://forums.creativecow.net/readpost/193/875880
While cameras can capture progressively- the transport for broadcast is interlace/ PsF.
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, ILhttps://library.creativecow.net/articles/adcock_gary/AJAIOHD.php
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[Shane Ross] “MXO2 mini has a leg up here as it can balance the monitor to bars via HDMI. The AJA cannot. The MXO2 mini is also cheaper. “
Not true Shane,
All aja products have the ability to output Bars via any of the outputs.
All you need to do is set the Kona Control to output Bars and it will.
the only caveat is you need to have the Kona control panel app in the foreground.
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, ILhttps://library.creativecow.net/articles/adcock_gary/AJAIOHD.php
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[Jeff Kirby] “When I output final cut movies and After Effects movies, the audio is still messed up. “
3 things
1) you need to be on the current version of the software of the unit which I believe should still be at 1.0.1.17 as shown on your unit.
2) AE cannot create a ProRes file that the KiPro can see at this time.
3) your audio original audio HAS to be @ 24bit so that the unit can understand it to playback
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, ILhttps://library.creativecow.net/articles/adcock_gary/AJAIOHD.php
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[andre delena] “Just installed Snow Leopard and the FCP7 upgrade on a 4 core MacPro with 4GB RAM and a Kona3 (7.1 drivers.) Everything I digitize is out of sync by 15-20 frames?”
you did not update the firmware on the card
you should find a file called Kona Updater in the Aja Utilities folder.
Updating the driver does not update the hardware, that needs to be done separately.
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, ILhttps://library.creativecow.net/articles/adcock_gary/AJAIOHD.php
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[Nathan Delannoy] “I have just got back some HDV footage from a shoot and have been told that the sound engineer who was recording with a Free Run Time Code, sent back an LTC onto audio track one. “
This is very common in concert footage.
that fuzz is what timecode sounds like as an audio signal – kinda like a fax machine.you need to bridge the output signal from Audio One to the LTC reader on your input device. If your capture device does not support LTC you will need to use something that does understand LTC.
your best bet is to do a deck to deck conversion to a higher quality format than HDV and use the LTC input on the receiving deck to accept the LTC signal via BNC or RCA out of Audio one on the HDV deck.
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, ILhttps://library.creativecow.net/articles/adcock_gary/AJAIOHD.php
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[Alex Desrial] “Wondering if some one has tried to use KiPro for slow motion recording ? “
Variable Frame Rate extraction is not yet enabled on the KiPro.
As Jeremy noted shooting off-speed is a camera specific function, so if your camera does not have the ability to capture over or under-cranked content or send that “flagging” info down via HDSDI this may not be the solution for you at this time.
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, ILhttps://library.creativecow.net/articles/adcock_gary/AJAIOHD.php