Gary Adcock
Forum Replies Created
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[Thomas Frank] “Now it is not the VCR since I have tried three different makes and models”
Horizontal green stripes can mean any thing from a failure to a sync issue.
Please post a picture here and make sure that you have it when you contact Aja Tech support tomorrow.
They will be able to help you with both items to debug your issues.
& It might be the tape, can’t rule anything out.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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@garyadcock -
[Aj Koch] “This may be a stupid question but I too am looking at a T-Tap solution and wondering how to best ensure audio monitoring syncs perfectly with video…”
Or use monitors that support embedded audio (almost all HDMI monitors support this) or use a production monitor that supports audio over HDSDI from like those from Sony, JVC, Panny.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
follow me on Twitter
@garyadcock -
[wolfgang schabhuettl] “can i use my kona3 settings for io XT in FCP7 ?
( my IO XT comes in 2 – 3 days )
“No,
but you can use the easysetups that were included in the install for the IoExpress and then add the dual link /3G versions if needed. just uninstall the driver before installing the IoXT version.gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
follow me on Twitter
@garyadcock -
Do you realize that those are some incredibly well known and gifted shooters you are accusing of intentionally being lazy, stupid or malicious in their actions? Do you really think that someone would put their name on any project if they had done that?
I certainly did not, and my name is proudly listed on the Revenge of the Shootout.
I can tell you from my perspective that not one of the DP’s went into this project with any intention other than making the best images possible with the tools they were assigned. This was my task as the designer of the workflows. Some of the Camera MFG’s wanted their specific workflows shown, others supplied personnel and technical support to show their products in the best light.
This is the same fundimental principle that the DP’s I work with. The job is ALWAYS to handle each and every project they work on with courtesy and professionalism.
To assume there are ulterior motives to shoot faster, show more latitude or somehow submarine the project just because, shows a fair bit of naivety of how people actually work in a professional enviroment. No one I know or would work with would allow that to happen and if seen they would have been called out by anyone of the dozens of people that worked on this project. The BTS cameras were running continously so there would a record if that was the case.
Part 1 of the test was to see how the imager and workflows compared in one instance with out bias to any camera, that is the base test and the higher end cameras clearly showed higher image quality.
The Lighting was designed to be difficult, it encompassed what would be difficult even for film, that was part of the test. Most cameras of the cameras faired poorly on this test, even some of the highest end cameras did not respond as well as the MFG’s claimed it should.
There is nothing wrong with making the Lighting extreme, working in extreme lighting conditions is a very real problem, to ignore that issue is as egregious as an error can be. On a real episodic production, the DP would not be re-lighting every shot, there is just not time in the budget when shooting 10+ pages of dialog in one day
Again I am going to reiterate that the time envolved in re-lighting multiple shots with a larger crew standing around is bad business. I do not care which camera you are working with, to waste your crew time is both foolish and expensive.
Allowing the re-lightingin this test to show that given time (and the associated monies) that virtually any modern imaging camera can be used in a professional manner.
I personally choose to spend the money on hardware to save physical time, my perspective is people are the most expensive part of the equation and wasting peoples time is the worst thing I can do. I hate it when people waste my time, so why would I choose to waste anyone elses time.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
follow me on Twitter
@garyadcock -
[Glen Hurd] “On Master Chef recently, (yes, this is national TV) I heard one of the judging chefs, while looking at a messed up meal that was presented to him, say, “This looks like it was assembled by a chef suffering from ADD!””
I assume that most of us have been taught “Just becasue someone else does something wrong, it does not make it the right thing to do”
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
follow me on Twitter
@garyadcock -
[Glen Hurd] “Geesh, Gary. I really did hit a nerve! “
I have never agreed with an online poster using derogatory phrases insinuating people have mental disorders because you think it is somehow alright. It is not. Belittling others to make your point has never been acceptable.
Once again I reiterate that your comments seem, to me at least, to show a lack of experience on larger sets where gaffing is handled by a different crew.
Have you actually worked on everyone of these camera’s? with the exception of the GH2 I have. When the tools reach the level of Alexa, F65 and Epic, DP’s that were trained in film style lighting go back to thier roots, one of a simpler shooting style and a reliance on the professionals that come after them in the process.
What is so wrong about that?
What you seem to keep bypassing in your comments is not only the addtional time to light the shot for the prosumer cameras, but in some cases a huge increase in post time. Again this additional post handling something that has to be included in the associated costs attached to post.
This was not designed to be compared to a one man “preditor” style. This test simulates what happens in a great number of commercial, episodic and theatrical productions- One person shoots and another handles the post, very few of the DP’s I know acutually post the materials they produce on set.
On a large set like this one, adding an hour or 2 to relight every shot keeps 30+ people on the clock, while the DP compensates for a lower cost camera. That alone makes the higher end cameras more practical. I can assure you that have a couple of dozen people standing around burning your budget while everyone waits.
Do that for every other shot and all of a sudden your production schedule (AND BUDGET) out the window. Now let me here the complaints about the extra rental costs when the budget for personnel (often the largest part of a production budget) just tripled while everyone is waiting for your to Re-light.
[Glen Hurd] “d) The loudest complaints from the people with the most to loose from the results. – I don’t know what that’s in reference to, but if that helps you ignore me, then have at it.”
My guess is , once again, is that you have some vested interest in your exisitng camera choices and the test has made you question a previous decision, hence the animosity in your posts.
I do not own cameras any longer, I chose to purchace the glass that fits on the style of cameras I choose work with, that way I am not bound by technical limitations.
FYI- its not personal, I do not know you. It’s about being respectful to others in your posts.
Treat others as you would expect to be treated, there are enough trolls online already.gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
follow me on Twitter
@garyadcock -
[Glen Hurd] ” Did I hit a nerve or did I really fail so terribly to communicate? I try for brevity, but that obviously wasn’t worth it. :(“
[Glen Hurd] “Again, my problem was that this scenario showed someone coming in with a top-end camera, and doing nothing to improve their lighting -it’s as if they suffered ADD. “[Glen Hurd] “And let me carefully restate that I’m not saying the topdog operators were bad or uncommitted or suffering from ADD. I haven’t implied it. I haven’t thought it.”
You have and you are- by re-using that comment over and over again in this post – why do you keep denigrating an actual mental illnesses to make a point about someone you perceive being to lazy to do what you expect?
You resopnd as if you minimal experience on a larger sets, for the record it is quite common for the Gaffer to have pre-lit sets for mood or to match an exisiting shots based on previous discussions.
Most lighting ratios have been established based on film stocks and until digital cameras can hold that “filmic” luminance range unless you are going for that flat “sitcom” lighting.
[Glen Hurd] “I’m simply trying to illustrate an inherent weakness to their test. On the surface it looks fair and intriguing. With a little analysis, it has weaknesses that are borne out once the footage is evaluated.”
I disagree. Possibly the difference is I viewed this material in a specific viewing environment where a group of us were all seeing the info at the same time- I have not watched the internet version, to me that would not be allow anything close to proper viewing conditions.
The test reaffirmed to me a few specific thougths having been involved in a couple of these tests.
a) the better the camera gear, the faster working environment. Cost aside.
b) a real pro can make art with Stone knives and Bearskins
c) No one will agree on the outcome.
d) the loudest complaints come from the people with the most to loose from the results.
[Glen Hurd] “Showing up with an F65 and doing nothing isn’t realistic. Is it Gary? Is it Jeremy? Is it anyone else?”
Actually the Alexa took the lest amount of time for lighting and post, and that fact mirrors why that camera has pretty much taken over a great deal of the Episodic and commercial market in the US with something over 80% of Episodic TV shot on that single camera.
Why? Why with all of these great tools do the pro’s go for one camera at better than 2-1?
There are RED’s everywhere? why are so many Alexa’s being used. WHAT happened to Sony and Panasonic’s former claims that they were top dog; 5 years ago the F900 was the dominate camera for Episodic tv, try and find one on a set now.Glen,
Everyone has thier own opinion and they are allowed to differ- however I think it best not to bash others on the way to making your point.gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
follow me on Twitter
@garyadcock -
Thanks Michael,
lets also point out that Alexa’s price today is actually less than what the going rate to purchace a top of the line Sony Digibeta, a Varicam or F900 when new.
This used to be an industry of a rarified few, but no longer. I humbly think that there are too many up and comming “filmmakers” that garner some unwarranted sense of entitlement just because they got 300 people to view a clip on youtube.
I judge my work by my critics, not my friends and followers and a 47′ TV is the smallest thing I work on, if it does not look good big, being smaller will not help it.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
follow me on Twitter
@garyadcock -
[Sen Vinu] “I exported AppleProres 422-HQ using QT (version 7.6.6). The only setting I changed is gamma correction: none (as adviced by my DOP) but I feel like I’m not getting proper result with Apple Prores.”
But how did you do this? in what software? RED”s R3D format all but requires you to either handle the file natively in their tools or use a software application like PremierPro in CS6 to correctly read the RED metadata format that allows for that metadata to be used for color processing of your final output.
Since you seem new to the RED workflow how much research have you done?
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
follow me on Twitter
@garyadcock -
Glen.
I believe that it is more than entertainment, As someone envolved with the workflows from the beginning, you seem to miss one of the more obvious results.
The higher end cameras required less time to re-work lighting and considerablly less time in Post, so that expensive camera rental really equated to greatly reduced costs for post.
[Glen Hurd] “That if I spend hours massaging something with inferior characteristics, I can compete with wealthier operators who suffer from ADD”
IMHO Thats a pretty arrogant way to look at it and by “wealthy operator” you mean someone that chooses an uses his tools like a professional? I am one of those people and I am offended that you assume that being a pro is somehow akin to having a mental disorder.
Why not use the information as an equalizer, that any tool in the hands of some that knows and understands it can be used to create art and real art takes time to create.
I on the other hand think this is a business and in business using the tools that allow faster turnaround between shots and less time processing in post, allow for greater financial contrstraint ( as well as greater risk) with a historically greater chance for success ( or financial gain)
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
follow me on Twitter
@garyadcock