Gary Adcock
Forum Replies Created
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[Colin McQuillan] “Audio no longer plays on KiPro from Prores files exported from FCPX latest update 10.2.”
So with the update did you bother to check the settings to make sure that the audio compression is set correctly?
What are the settings you are using?
if your master audio is not 48kz that might be where the problem started.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILFollow my blog at https://www.garyadcock.com
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@garyadcock -
[Jeremy Garchow] “Then take 4096 and divide by the aspect ratio, and that gives you the height.”
It does not quite work that way as the aspect ratios were devised for Film standards and not digital .
A more accurate chart is a https://www.digital-intermediate.co.uk/resolution/resolutionaspect.htm
Currently the best reference book available by ASC member Dave Stump
https://www.amazon.com/Digital-Cinematography-Fundamentals-Techniques-Workflows/dp/0240817915gary 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 -
[Rich Kaelin] “Details: So we set up a shoot around Christmas for a concert….. I just sat down to start the editing and mastering this week, since they only want the finished product ready for this Christmas season. “
first, your data handler should be shot. This should have been flagged immediately when backing up the content.
The unit’s check the media on boot, I have seen a unit reject a drive that was not working correctly
” So only the iso record is dropping. It happens to be the jib,”
My guess it was not the drive but the signal from the camera, with the dropouts being cable issue or the like (common on Jibs)
ON the TC issue, 11 frames over 10 mins is about the difference between Drop Frame and Non-Drop Timecode- are you sure which are you working in and how were the recorders set?
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 -
Yes
A proper converter
(FYI have you tried using a DVI to HDMI adapter on the back of the monitor?)The frame rate and format of the video are as important as the gear when patching signals through devices.
Are you shooting PsF or P?
What is the EVF set too?
If you are shooing /outputting at 60p from the camera that is not going to work over a single SDI cable.
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 -
[juergen steinbrecher] “The problem is that my video camera can only shoot in these frames rates:”
What is your point?
There was a time when video cameras only shot one frame rate based on where you bought the camera.If the camera is defining your workflow use one camera and frame rate( good luck with 23.98 under 50Hz lighting)
If it is the subject that determines how you have to shoot, then you will need to understand how to handle the various types of files to make them all compatible with your final project.
“This is what the GH4 can do:”
the camera should only determine your workflow when it is all you have and now pretty much every camera can do the majority of those frame rates.
24.0 is the universal frame rate world wide
, 23.98(for NTSC playback) and 25(PAL playback) are easy conversions from the base integer. If you live and work in Asia your frame rate should be based in integers and not relying on the DropFrame timebase prevalent in the US and Japan.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 -
[juergen steinbrecher] “1. What would you recommend for getting the 29,97 material down to 24? I used to work with FCP 7 and now I am editing with FCP X. Any recommendations maybe? “
After Effects will offer the best software based frame rate conversion. However be careful, AE sees 23.98, 23.976 and 24.0 as 3 differing frame rates not the 2 (both 23.98 variants are seen as one by ALL other apps)
“2. One very, very basic question: Isn’t it better to go up with the frame rate? I think I heard somewhere that the quality is better to increase i.e. from 24/25p to 29,97. “
NO there is not any gain in quality by increasing the frame rate. Higher frame rates make the image look more “video-y” and less filmic, but there is not any increase in quality by increasing frame rates ( and less in most instances)
“Do I have to expect one or the other (depending on the direction I will convert) of the material to start to jerk, due to these conversations?”
The term is “Judder” and it comes from moving the camera faster than the frame rate allows for while this is seen more in the lower frame rates, footage that suffers from it cannot be fixed by adding additional frames
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 -
[Jeffrey Lonigro] “Hmmm, tried that didn’t seem to feed through.”
The device needs to be setup properly to accept the incoming signal. if the signal is not being accepted for incoming it is not going to output.
This is not a converter, this is a cheat and it requires that you be diligent in your initial setup, just as if you were going to be capturing footage into the IoHD.
it would help if you would be more specific about your setup and workflow, since the easiest solution to this problem would be to use a converter specific to the task.
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 -
[Jeffrey Lonigro] “o you mean using one of the AJA utilities like AJA Control Room or AJA TV”
Correct. It’s a dumb device. it needs a controller. Control Room should just have to be active on the connected computer- to establish the connection.
( would think that it would only take minimal resources from the host computer, you should still be able to handle the data workflow on the same machine.- frankly I have not tried it with the current software but it is how most Aja devices work.
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 -
[juergen steinbrecher] “So long story short: I will end up with a project in which a big part is shot in 23,98p another part in 29,97i and again another in 25p.”
Ouch.
Consider 2 things first
What frame rate is the majority of the content?Is the client requesting 23.98p or 25p rate for delivery?
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 unit does need to be in the capture mode to pass a signal through it, It does not act like a standalone converter.
You also need to make sure the SDI monitor can handle the frame rate or format (p vs psf)
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