[Gary Adcock]

[Steve Harley] “When I open a SMPTE Color Bars .tif file on the PC — the chroma and luminance are almost perfect on my scopes. But when I view the PC’s desktop — or an application like a web browser — the chroma and luminance levels are completely off-the-charts and in illegal territory. “

Tif files may or may not be in the same color space as the video signal is. Tif’s are RGB, video is NOT.

Make the Bars image your desktop background and calibrate on image as you are capturing it. if the background is not correct anything that shows will not be correct either.

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]

[Mike Evans] “First, when I attempt to record via DVI to HDMI, I can never seem to get this to work.”

AJA’s HDMI only supports SMPTE Video signals, while the HDMI protocol supports computer monitor and video display resolutions, AJA’s tools only support the Video rasters. AJA also abides to ALL HDCP security measures- so you cannot record HDMI from set-top boxes or gaming consoles.

“Am I correct that the composite signal only works when down conversion is selected on component out? If so, isn’t it a little silly to not always have it down convert since it’s composite? “

No the composite out should work all the time.

“Does anyone else have issues getting certain pieces of equipment to “lock up” certain peices of gear? It seems that the tolerance for record is very high. I’ve had HDMI not stay “locked” when recording from a DVD”

I do not know what you mean by locked? there is no ancillary data stream with HDMI capture so device control is and should be manually controlled at the player device- ALSO see note above.

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]

Adam

I too am going to chime in on this, having torn apart both DNX and ProRes.

“I was told by the Nitris editor that they would have preferred that I worked in an uncompressed codec.”
This one is actually simple, the uncompressed QT codecs import faster (by +4X) into the avid.

“high end Panasonic (full size) Camera. Apparently the video information from this camera has a wider color and luminance spectrum (higher then 100 Units of white) and when using a compressed format like the ProRes (HQ) codec,”

That “quality” would depend on a number of things from the basics like recording codec (AVC @ 10bit or DVCProHD @ 8bit) to advanced camera settings or externally recording to higher quality ( DPX or SR).

ProRes does support Superwhite (up to 115 IRE) but that does not translate to a higher luminance range.

I tend to agree with the others about arguments like this being one editors insecurity with his place in the food chain with the changing state of post technology.

Ask him what he means about lesser quality when most of the DNXHD codecs are only 8bit when all of the ProRes versions are 10bit or greater.

You might want to tell him that your 10bit ProRes HQ codec at 220mbps is every bit the equal to the 220x 10bit version of DNXHD. While the X version of the DNXHD codec matches Panasonic’s D5 Mastering quality. ProRes is a newer iteration of compression that more closely matches the PNSR (peak signal to noise) ratio of the HDCamSR, considered by the industry as THE Master Tape format for highest quality recordings.

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]

[Jonny Hal] “My question is, next time I digitize, for any given format, should I use the AJA KONA 3 ProRes 4444 setting or the AJA KONA 3 8- or 10-bit setting? “

ProRes was designed as a intermediate codec to offer users highest quality while offering moderately compressed content.

YOU want an answer that no one else can give you. If ProRes works for you then Use it.

ProRes is Always 10bit – 8 Bit UC is always 8bit.
Do you want to use lots of disk space and never be able to do anything in real time use 10bit UC.

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]

[Peter Wollsey] “I change my settings in the KONA control panel to DEFAULT VIDEO OUTPUT – BLACK. However if I then go to COLOR, then leave COLOR, the DEFAULT VIDEO OUTPUT always reverts to COLOR BARS 75%.”

have you set this and then closed and reopened the Kona Control Panel.

if you do not quit the control panel application the settings will not hold.

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]

[Chad Brewer] “Am I color blind? “

ummm…
we cannot answer that

However if your male there is something like a 1 in 4 chance you have some degree of color blindness with a full 7%-10% of ALL men in North America being completely deficient in the Red/Green part of the color spectrum while women only show a 0.4% rate in the same demographic.

“I know exactly what 4:4:4 is. What is 4444? “
RGB with Alpha – ProRes alpha is up to 16 bit. (65,536 levels of grey)

and I am betting you can’t see that many levels of grey either.

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]

[Joseph Barnett] ”
What my testing has revealed (Using a 10step generated by the HDSR machine):

Single link Capture utilizing the HDSR frame converter to 422: CORRECT for YUV QTS- 10bit/ 8bit/ ProRes
Dual link Capture/ VTR Exchange/ DPX Frames: INCORRECT
Dual link Capture/ VTR Exchange/ AJA RGB 10bit QT:INCORRECT
Dual link Capture/ FCP/ AJA RGB 10bit QT:INCORRECT “

OK
yes these questions are usually answered in the Kona Forum. but lets back up here.
I work almost exclusively in this space with these tools in the formats you mention without issue, So I am more than a little confounded, and do not really understand what you did.

What is not correct about the captures? My guess is that you did not set the deck up correctly if all you got was a single link capture.

Are you sure the deck was outputting over Dual Link as RGB?

Which SR deck?

Why are you not using a master source tape instead of relying on the B+T in the deck?

What computer OS and what storage are you capturing too?

a full methodology would be nice.

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]

[Michael Peele] “On a Dell WFP2408 monitor it looks like about 21 pixels are missing from both the top and bottom and about 38 pixels off off both sides. The pixels are not getting cut off by the monitor – even in 1:1 mode, a 1280×720 image is cutoff on a 1920×1200 monitor.
On a consumer RCA 42” 1080p LCD, there is a little more picture – only about 15 off top and bottom, 25 left and right. SDI is fine, HDMI is cutoff. Settings? Known problem? Ideas?
Some HDMI monitors just do this? “

The last line is the Key.

but more so—
What part of using a COMPUTER monitor makes you think that the video output would be correct?

Your computer monitor is fitting(more likely jamming) the HDMI video signal into the PC Display format and resolution and that consumer monitor from RCA is a crap shoot (who made the panel and what resolution REALLY is it).

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]

[Mario Kralj] “. Is there any other solutions? Should I try to reinstall drivers and/or FCP maybe? “

Call AJA tech support

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]

[Kevin Monahan] “They want .dpx files, however what do you do when you have multiple layers comps? Render out Comps for each layer in AE? A new sequence for each layer for FCP and Motion FX? “

they would need each layer (element?) as a separate DPX stack?

or a masked comp sequence?

got to be more specific with them about how they want the files delivered.

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