[Gary Adcock]

[Devin Crane] “orry not seeing how the 2 are similar. I’ve got a file that was not properly closed in VTR Exchange due to it crashing and trying to restore it since QT won’t open even though all the Gigabytes are there from the recording. “

its how to recover a broken QT file.

it is not possible to open a generic QT file while it is still being captured. Apps like Picture Ready are designed to allow for editing of content that is still being recorded ” with caveats”. but as a standalone in QT player you screwed yourself.

JG’s link eluded to a company that can allow you to recover a good majority of the file. That is the similarity.

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

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

[Gary Adcock]

[steve martin] “Thanks Gary. The clips show a field dominance of odd after import into the browser from HD. I would think they would have field dominance of none if they were truly progressive material?”

It is called PsF or a Progressive segmented Frame
https://forums.creativecow.net/readpost/193/875880

it is the default transport of a baseband video signal as designed for all 1080 HD formats. While there are True P setups available they require a hardware card that has that feature set enabled and a display that can handle a True P signal in 1080 (most consumer monitors cannot)

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

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

[Gary Adcock]

[Paul Belanger] “How can I display footage shot with RED 2048×1152 at 25fps with the Kona3 in FCP?
I’ve been sticking the footage in a 1920×1080 29.97 sequence to get it to play with the Kona but everything is then a green render in FCP and that is not great. “

That WOULD NOT be the way to do it.

use the 1080 25i setup. or create a new one.

you need to load ALL of the extra presets for the Kona card to get the RED specific setups.

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

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

[Gary Adcock]

[Bob Zelin] “REPLY – yes Gary – this machine is the one you just described. I have two like it, doing the exact same thing. “

There is an apple firmware update that was supposed to fix this- it is specific to that machine also.

let me look…

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

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

[Gary Adcock]

[salah Elfalahi] “i thought only SDI input would give me better quality than compressor, but if component would do the same,”

HD/ SDI is the digital version of a Component Y’Cr’Cb’ signal with the addition of timecode, audio and metadata in one pipe.

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

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

[Gary Adcock]

[Rafael Amador] “This is not true at all.
Components have been the top standard for many years. “

I agree.

component video input and output will offer the OP the best quality possible.

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

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

[Gary Adcock]

[Aleks Brodar] “Anybody to help? “

ProRes will not run under FCP5.

you will need to have the files converted to use on your system, working on software 3 versions back from a state of the art camera like Red is asking for issues.

Your Editing Software needs to be as current as your tapeless camera system is.

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

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

[Gary Adcock]

[steve martin] “My sequence settings look like this “

Yo dude..

While the Cannon actually does shoot true P as H.264 video (like RED and Phantom)

Please note in your picture your seq settings clearly states that the format is 1920×1080 (HDTV 1080i 16×9)

While the h.264 file can play as true progressive on a computer the default transport of 1080 video as a broadcast signal is as interlaced or as a progressive segmented frame. see Psf.

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

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

[Gary Adcock]

[Bob Zelin] “Anyone that can answer this gets a cookie.
“

you do not say which machine?

Are you running on a first gen Quad intel machine with 4 gigs of RAM??
or a first gen Nehalem octo core with more than 8 G RAM?

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

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

[Gary Adcock]

[Hector Silva] “I want to bring in three or four audio tracks while recording to a Ki Pro. On the analog side I only see two channels of inputs, but I’m assuming if I had four tracks coming from HDMI or SDI that they will be discreetly captured within the ProRes video file.
Is my assumption correct? Has anybody tried this? “

Because most cameras only allow for 2 discreet channels of audio at this time, the KiPro only supports 2 channels of audio.

Multichannel audio recording via the digital inputs has been announced for a future software update

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

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