Gary Adcock
Forum Replies Created
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[Lobarev Eugene] ” On MacPRO with Intel processors working good. Maybe somebody know interesting things about KONA on Power PC?) Please help because I can`t work fully. Thank u”
Lobarev,
Only the Kona 3X is designed to run on PPC, it is about what the buss is in your computer. PPC computers use PCIX connectivity, but the Apple Intel machines use the PCIE buss.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[Leonardo De Mai] “somebody know if it is possible to acquire trough AJA I/O in FCPX ?”
NO there is currently no way to do this directly in FCPX.
If you could use it with a Beta Deck you could use the free VTR Exchange App from AJA with that IoXpress to capture directly into ProRes.
However the bigger issue is that Beta SP is Analog and the IoXpress only has digital input capability.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[steve phillipps] “True, but about 10x as long as the Nanoflash!”
I guess that is the price for getting 10bit I-frame recording instead of 8bit MXF.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[steve phillipps] “Woah! Just seen someone mention that the Ki Pro takes 40 seonds to boot up!!!”
Yeah, thats about the same amount of time as an HDSR tape deck.
and that is faster than a Red One does.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[sam White] “uses sony A1 1080i HDV , canon 5d/7d and a bit of go pro footage as well.”
None of these cameras produce anything more than an 8bit image that do not require you to use more than Pr422 for your conversions- going to the 4444 codec is a waste of resources during your edit.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[Rob Nimmo] “At the end I have to hand all these drives off to clients, and they need to be able to easily access them with home computers. So with firewire 800 or USB”
Correct- the delivery drives are different than the arrays-
Understand that when you are using the same buss ( FW orUSB) to read and write from cuts the thruput by more than 1/2 of what is possible.
I personally prefer external arrays, but internal arrays would just be slower without as much redundancy.
I currently have disc arrays from Maxx, GTech and JMR that all run over SAS but I am testing Thunderbolt units that will change everything.
[Rob Nimmo] “Also, 750 gig of data a day doesn’t quite cut it to stay on top of this.”
that is per camera data and I am currently working on a 3-rig Stereo project- that is over 4.5 T per day in data that uses a 3 person team to maintain data for each rig separately- you scale personnel to match the amount of data being produced.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[Christy MacKarell] “Elsewhere on this list it is suggested that this is impossible.
Anyone else had this happen? – What did you do?”hey Christy,
The only time I have seen clip corruption happen during the majority of productions is when the data transfer is incomplete when first processed by the onset Data manager.
I have only seen a corrupt Alexa Prores file when the content was set for “dual record” where the camera is writing the same content simultanously to both SxS cards as an incamera backup (dumb idea IMHO).
In that case the Card in Slot 1 always good and the courrpt data was always in Slot 2.I am at the Createsphere events in NYC this week if you want to have someone look at the clip.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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The KiPro Mini is a lower cost solution and will be able to record DNXHD soon.
The Hyper shuttle is using uncompressed captures- that will make your edit more difficult.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[stacey johnson] “Gary: You describe the Panasonic HDC-TM700 having “1080/60p” by line-doubling 1080/30p; is that the same general principle used by JVC GZ-HD6U?”
on the video ouput- yes that is correct- note please that in this thread I was not talking about what the camera recorded- but what the ouput video signal is- they are 2 completely different things.
1080 60p as a video signal is beyond the processing power of most computers, and way beyond most playback devices- it is used when the footage intended for Slo-mo in the Pro space and not much else.
So use it when you want to slow the footage down- otherwise use the more tradional frame rates.gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[Rob Nimmo] “was wondering if anyone knows a better way to go about this other than just firewire 800 and a Mac. “
I do this level of data transfers all the time and NEVER use just a mac and FW800, On a normal set I move between 300-750G of data per day.
I always move the data from what ever it was recorded on to a Raided disc array, that affords me speed of transfer and a redundant backup, then I am no longer cobbled by the copying while writing via FW. With a multi-interface drive I can then make multple copies via esata rather than relying on FW.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640