Gary Adcock
Forum Replies Created
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[Bahram Gueranfar] “We have several HDV decks at our disposition and we would like to know if we can use the HDV project in FCP via the ioHD the recapture through HDSDI into prores HQ. “
That would depend on your capture method. If you just did a “Capture Now” from the entire tape in an HDV camera I doubt you have any working TC.
However if you did a proper log and transfer the process is fairly straight forward.
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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[Tim Kolb] “Seriously…the IO HD now runs with FCS 3, or is it waiting for Apple? Or did Apple do their thing and it now works? “
Yes,timmy the IoHD now properly works under FCP 7.01 and OSX 10.6.1 and later.
It is my understanding that the “hooks” into FCP to allow for the IoHD to remotely process ProRes (independent of the host CPU) had to wait for both the the FCP and Snow updates before Aja could update their software.
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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[Tim Kolb] “Technically, if you had a KiPro, you would simply transfer your footage into your computer as a data transfer. “
People forget that the KiPro is both a 10bit recorder and Player.
The recoding unit can play out the files over SDI/ HMDI or Component into systems that are not ProRes friendly like PPro is. This is the recommended workflow for say an Avid System.I know that this workflow is essentially no longer tapeless- but by maintaining the 10bits when using the unit as a player device keeps quality at a significantly lower cost than using an HDCamSR or D5 decks deck- the only other mainstream 10bit recording devices.
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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[Torben Suhrke] “upon further inspection the unit showed some recording artefacts even in normal recording conditions. The picture was jumping up and down for about 3 scanlines in total.
I guess I’ll have the unit replaced. “I would check it in a Non concert situation before sending it back.
The skipping could have been as a result of the vibration also. See the distance between the R/W head on the drive is measured in microns so the vibration can have minor effects on how the drive was written too.Let me say that you need to test, test, test with any new device to see if it works in your workflow or in the environment that your are working in. Shooting and testing your setup during sound check often will flag any record or playback issues.
The fact that you thought to put the unit on padding meant You knew or guessed that it was getting too much vibration and that is not ever good for to record to any spinning disk in that type of environment. My guess is that another 20meters of HDSDI cable would have solved most of the issues by allowing you to move the record farther away from the stage, as is common for most concert FOH video production.
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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[Peter Corbett] “. I’ve seen the AJA skeleton frame product mounted on the tripod head, but how do I do handheld when I have to come off the tripod? “
I agree for handheld work the AJA Exoskeleton is kinda awkward, I will say that I have mounted some really heavy camera rigs (+90Kg/ 200Lb) on them and they held up exceptionally well, however IMHO it is really designed for a smaller camera config or for use on a tripod.
The wonderful people at Zacuto have a page dedicated to various configs for 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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[Tim Kolb] “As you said, I’m a PC guy “
One of the best “PC” guys I know too.
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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[Torben Suhrke] “Has anybody experienced something similar? “
I supervised a 10 KiPro capture last week for the MTVu “Woodie Awards” (9 cameras + PRG master) and recorded the show for on all 10 units for over 3 hours at 1080 60i without issue.
The Drive Module would not have failed without some warning from the KiPro before hand.
You do not mention how you were working with the KiPro- was it onstage( my guess) or
“1. Heat-issues. The drive felt pretty hot when I touched it. “
All hard drives heat up when being continuously written to. The drive modules are specifically designed to vent that heat, so they do tend to feel warmer than say a desktop drive which has much greater cooling capacity due to design. Please tell me someone did not use it to lay papers or a script on, as that would decrease the cooling capabilities.“2. Vibrations. The concert was very loud. I tried to shock-absorb the unit by placing some rubberfoam beneath it, but it didn’t work out. I guess the vibrations due to the loud bass were “all around” so to speak and were not only transmitted via the table the KiPro was standing on.”
All recording media is susceptible to failures depending on the conditions, and spinnning disks are no exception, If your recorder was on or just in near proximity to the stage the bass or drums could have easily been affected the record head- just like it would on any tape deck or other physical mechanism would have been. Explosions on stage as part of pyro or fireworks would have the same effect. I have even seen it in orchestral performance when the tympani and or gong were struck profoundly.
For the MTV shoot I was on a folding table in the camera truck about 100 ft from the back of the stage.
My rule of thumb is to place the recording device as far BEHIND the stage as possible to help prevent this kind of issue.
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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[ayman abdel-basset] “i think the problem is the connection of the raid..
what is the best solution for the uncompressed HD (8bit,10bit) storage? “Firewire is NOT fast enough storage for Uncompressed HD.
Uncompressed 1080 is over 165 megabytes a second, FW maxes out between 25/35 megabytes per second.To handle uncompressed HD you need multiple drives attached via Sata, SAS, Fibre or SCSI on very speedy drives. I recommend looking at storage from a company like MaxxDigital, I use their EVO series in all my racks or others like Dulce, JMR or Gtech if your looking for smaller size volumes
While I do not believe it is yet available outside the US, I am very impressed with the HDPro2 from Caldigit I have tried my hardest to break it, and I have not been able to, the first Drive Unit from any company other than Maxx that I could not force a failure on in any way, shape or form.
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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[Rafael Amador] “Without this change (60> 59’298) the B&W TV sets would have had many interferences due to the chroma in the signal. “
No that is not correct (and what does 59’298 mean????)
Since B&W sets at the time could not see any part of the Chroma signal it did not affect them,
On Older Color sets when luma and chroma combined reached 90% white the harmonics in the signal would cause AUDIO interference when graphics or the random white shirt on screen allowed the signal drift into that area. Super White graphics can still cause this today – ( ever heard an audio buzz on a local car commercial when the Price is on screen?)
This is also why we have YUV instead of RGB, since the “Y” channel contains all of the pertinent data including sharpness and resolution for a proper B&W image, whereas the Cr’Cb channels only carry color info
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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[Nick Pope] “I was wondering if anyone had any insight to using/converting Velocity DPS/DVA files in Final Cut Pro. “
Telestream’s Episode can do this.
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, ILhttps://library.creativecow.net/articles/adcock_gary/AJAIOHD.php