Gary Adcock
Forum Replies Created
-
Rafel is correct on this.
Since your scanner is working at the frame level AJa VTR Exchange has the needed functionality to capture from the scanner with TC.
You should call Aja for proper technical support on this, it is not a DIY kind of set up as settings might need to be made to the scanner also.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILFollow my blog at https://www.garyadcock.com
Or follow me on Twitter
@garyadcock -
the simple answer is No.
It is an technical issue unless you have software that is sophisticated enough to playback a file while it is still capturing, most NLE’s or other tools do not allow that until the file has been closed.
The old Gallery Effects Software at one time allowed for the ability to handle what is called a” growing file” on the server side but I do not know of any stand alone software on the mac that would do this.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILFollow my blog at https://www.garyadcock.com
Or follow me on Twitter
@garyadcock -
[Kevin Murphy] “HD is “AJA KONA LH: 525 29.97 8-bit.”
SD is “AJA KONA LH: 525 1080i 29.97 Apple ProRes 422.”
“
OK. no such thing as 525 HD
did you check the firmware and software for your versions?
Firmware updater is inside the Applications > Aja folder
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILFollow my blog at https://www.garyadcock.com
Or follow me on Twitter
@garyadcock -
[Kevin Murphy] “When I attempt to capture HD footage, it’s at Apple ProRes 422, and I have issues. When capturing SD footage, I use 8-bit Uncompressed without issue.”
That does not tell me your compression settings. SD is 8bit by default.
Are you using an AJa preset and if so which one?gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILFollow my blog at https://www.garyadcock.com
Or follow me on Twitter
@garyadcock -
[Kevin Murphy] “Does anybody have any idea what may have caused this? We’d like to be able to continue and deliver HD content through this system”
I have seen this and that is a board/ hardware issue, if you are sure that the firmware and driver are current for the software versions you are running, then the card needs to be replaced.
You do not say so in your post, but can I assume that this is just 10bit vs 8bit capture of the same content?
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILFollow my blog at https://www.garyadcock.com
Or follow me on Twitter
@garyadcock -
[Michael Angelo] “KEEPING TIMECODE Yep creating ProRes in the old FCP7 using EOS plugin preserves timecode”
You will have far better results in an online offline workflow if you use a dedicated app to do this.
ALSO Why are you transcoding the files 2x times? Why to LT then to Proxy?
This is compounding every problem. Convert directly to PR Proxy, just let the colorist work with the camera originals when that time comes.“Need to keep files size down in an attempt to edit the feature with out AC power on a laptop with an external 2TB drive, seems to be the limit for USB3 and Firewire, no thunderbolt yet last time checked”
WTF? so you have like 3000 laptop batteries all charged up?
Editing a feature length project requires power. Those drives eat power from the laptop, working outside requires a brighter screen, which eats more power. What happens when the batteries fail during a project write to the drive and you loose everything because it is corrupted?
Take a geni and a small UPC, what ever it costs it will be worth it to save your ass.
MIchael,
You are working at or beyond the limit of your equipment and that comes with a price.
Time.
and a lot of time too, because there does not appear there is cushion for protection or relief.
If you that far out on the fringes, beyond AC, what are you doing to protect your kit from water, dirt and damage? How are you backing up your camera content as well as your edited project?
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILFollow my blog at https://www.garyadcock.com
Or follow me on Twitter
@garyadcock -
Michael.
you seem to have a litany of issues here I am going to comment on.
If you want to keep clip TC, you need to process the files into your preferred codec outside/ separate from the editing app.
Why in the world are you making Proxy versions for ProRes LT?
If you are having import errors and issues with “X” number of files- what is your machine configuration? If you plan on doing a feature length project you will need at least 16G Ram and enough online disc storage to allow for 50% more content to be added due to versioning and renders alone. I am going to guess that your machine / set up is not powerful enough to handle the project you are trying to load.
[Michael Angelo] “IMPORTED SOME MEDIA SUCCESSFULLY BUT KEPT GETTING ERROR MESSAGES BELIEVE CAUSING UNLINKED FILES – Error message reads: “Import failed the following clip encountered an error during import and is still referencing media on the camera””
THAT IS A TRANSFER ERROR on the duplicate media, whomever copied your data did not maintain the corresponding folder structure from each piece of media, so the pathways to reconnection have been broken.
[Michael Angelo] “UNABLE TO RELINK THE MISSING MEDIA, MAYBE DON’T UNDERSTAND RELINK PROCESS?”
That is most likely a name or file length issue with your media.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILFollow my blog at https://www.garyadcock.com
Or follow me on Twitter
@garyadcock -
[peter tours] “So Gary are you suggesting simply recording the P2 files and not bother with the KiPro?”
No not at all.
Capturing the signal out via HDSDI often offers better resolution and higher color fidelity than the camera native formats, at the cost of stripping out the majority of the Metadata generated.I feel that both are needed, one reason is because many cameras require capturing media to trigger start-stop signals.
Shooting at 1080 29.97p to allow for a 60i deliverable would offer the user the highest quality file capable on both the KiPro and the camera, since the camera mentioned does not support acquisition or output of any higher quality format or frame rate.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILFollow my blog at https://www.garyadcock.com
Or follow me on Twitter
@garyadcock -
[peter tours] “uses a Panasonic HPX500 which records DVCPROHD1080 30p over 60i on P2”
[peter tours] ” I would assume I would want the largest frame size (1080) and the fastest frame rate 60fps and a progressive recording, It does not appear KiPro can create such a file”First
The KiPro only records what can be passed over a single link HDSDI cable (1.5Gpbs) and that tops out at 1080 30p. 1080 60p requires a camera and a recorder that uses Dual Link or 3G HDSDI.HOWEVER you seem to want to record more info than your camera can actually provide to the recorder so the question is actually moot for the equipment at hand.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILFollow my blog at https://www.garyadcock.com
Or follow me on Twitter
@garyadcock -
[Trevor Aikman] “I know that Apples’ Thunderbolt to Firewire adapter cable won’t work for us in this. They fail to power the drive. Is there any other option for us? “
Why can you power the drives via AC?
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILFollow my blog at https://www.garyadcock.com
Or follow me on Twitter
@garyadcock