Gary Adcock
Forum Replies Created
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[Philip Davies] “Could this be something to do with our set up…”
yes it is something like that, do the math on your data throughput needs.
You are well beyond what can be done in real time over FW, in addition to using a non-native codec for FCP that requires you to use CPU to decode and playback each stream in addition to reading and writing from one or more multiple drives over a limited data pipe.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[Leonardo Franke] “No I don’t want to. That’s the point I want have it working and at the same time be able to rec manually.”
you can’t have your cake and eat it too.
How are you going to match clips then when the record function forces clip naming to clips that have not been recorded in camera?
Your post workflows are far better off turning off the Alexa metadata in this situation than not. Leaving it on will screw up your post production methodology of matching back to the camera originals.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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@garyadcock -
[Leonardo Franke] “. But no luck in override with rec button when camera is not. Anyways tomorrow at work I’ll give it a new try…”
Turn off the camera flag.
Are you using the RP188 for TC too?
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
follow me on Twitter
@garyadcock -
Gerhard.
the record override that arrived in v3.1 of the software allows for the recording when the camera is not,or when signal is lost during a recording, but you need to manually enable this setting in the interface to allow the KiPro to record when the camera is not running, it is not enabled by default.
Parameter # 32.0 Loss of Video
This parameter selects whether recording continues when valid video is not present.
Note: If CONT Rec is selected, and a loss of video is encountered, a graphic with the text “LOSS
OF VIDEO” superimposed over color bars will appear. Be sure to check your source and
video connections if you are experiencing a loss of video.gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[Jake Keller] “I read somewhere that I need to use the color bars in FCP7 to calibrate it by eye, but there must be a better way since it doesn’t show up in the Display settings in System Preference”
The calibration is listed in the FCP7 manual.
Why would you assume that a TV connected to a video card would show up in the display settings?
Video is not a bi-directional communication and other than the HDCP security in the HDMI port,that keeps copyrighted content from being recorded there is no communication between the computer and a monitor over a video connection.gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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@garyadcock -
[Alberto Zavala] “Can we expect the same results if you apply the same color grading in both codecs? or the higher bit depth makes a substantial difference?”
That would depend on the content as shot, the deliverables and and the colorist.
Having a higher bit depth allows the colorist greater range to adjust the image, particularly in the shadow areas.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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@garyadcock -
[pat kelley] “Feeling a bit stupid here…I’ve been trying to figure out how to export a timeline that is both 10 bit uncompressed AND 4:4:4:4.”
Uncompressed 444 is 10bit and can be either YUV or RGB.
4444 files are considered RGB + ALPHA- if there is not an alpha channel it is 444.
The QT player is always reading files @8bit.
You do not state anything about system or source files, if your originals were not that format you will need to create that color space for output.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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@garyadcock -
OK.
ProRes 422 HQ as acquired by an Alexa is just fine.
The ProRes 4444 content from Alexa is recorded as 12bit instead of 10bit, there is not any difference in the quality of the blacks in the base image, however the 4444 content is preferred by most colorists due to the higher bit depth.
Uncompressed HD is only 10bit and that is the standard that most use for quality, I have not seen noticeable differences between UC and PRHQ content except when using a scope, nor would that show after being compressed for broadcast or delivery.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
follow me on Twitter
@garyadcock -
[gary adcock] “yes the modules can handle bus power and the modules ship with an external PS.”
Phillip.
I stand corrected, the Power Supply for the KiStor Drive modules ships as part of the KiPro unit , the PS’s are not included with the KiStor modules themselves.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
follow me on Twitter
@garyadcock -
[Phillip Byrd] “is the drive powered over the USB connection or is a separate power source required for the drive? If an external PS is needed”
Phillip.
yes the modules can handle bus power and the modules ship with an external PS.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
follow me on Twitter
@garyadcock