Gary Adcock
Forum Replies Created
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[wireshooter] “hot a video with jvc hd100u at 24p 1080i”
– that camera shoots 720p try using that setting.
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows
Chicago, IL
gary@studio37.com -
[Wayne Carey] ” That alone made my company choose XDCAM. It the same IMX codec and has the same qualities as P2.”
Wayne
I beg to differ.
DVCPROHD compression is NOT in any way shape or form Long GOP mpeg. XDcam uses xml in Final Cut and an IMX codec while similar to the MXF format the 2 are not compatible to each other and are not interchangeable.gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows
Chicago, IL
gary@studio37.com -
Q[Aaron Goddard] “What about the embedded audio. I don’t see a 1080 23.98 easy-setup with embedded audio. Does the K2 automatically capture that or should I duplicate and edit the capture preset?”
Aaron
That is a function of the Kona control panel not FCP. Use the Kona 2 1080 23.98 psf set up and use the control panel to choose your audio preferencesgary adcock
Studio37
HD & Film Consultation
Post and Production Workflows
Chicago, IL
gary@studio37.com -
[William Hooke] “To add to the questions, can anyone verify if the HDX900 supports true 1080/24p (a la CineAlta) as opposed to 1080i captured at 23.98p? I have a client who needs the above delivery requirements (1080/24p)”
the HDX900 records that same image structure that is standard for the 1080 format, which the onboard tape systems records as an industry standard 1080 24psf. ( note this is not 1080p24)
24p in video is considered to 23.98 so that audio and video are in sync for conversions. Only a very few people actually shoot video at 24.0 fps and only when matching film or being used solely for a filmout.
It is my understanding that HDCAM /Cinealta only records a true progressive 24.0 image(that being 1080p24) to an external SRW or D-5 deck and not to internal tape.
The format for the 1080 format for onboard recording is most often recorded 23.98 and is is called a progressive segmented frame (or PSF) that is captured as a progressive image but played back at 48i on all but the highest end displays and optical printers. This is to maintain legacy with the existing interlaced formats currently being used in the US.gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows
Chicago, IL
gary@studio37.com -
[alex viarnes] “As for blurring channels….I would never do that.”
Thats why experimentation is needed.
It has been a standard process since the beginning of the digital still revolution. Companies like Nik Multimedia and Alien Skin have built entire filters sets around the concept.
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows
Chicago, IL
gary@studio37.com -
[reel2reel] “Have you ever seen an apparently randomly generated TCR value, though? This has happened to me twice and I can’t repeat it and I can’t relate it to any TC, either in the sequence or on a clip. Very strange.”
My guess is that you grabbed the TC reader instead of the TC Generator– the TC reader would read the TC from each individual clip and it would appear totally random.
my 2cents
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows
Chicago, IL
gary@studio37.com -
[Ken Nemetchek] “Again, I am looking for strategies in dealing with this issue, and not in complaining about the camera – which in general terms I absolutely love.”
Use the simple solution that all still photographers use.
go to video filters> channel > channel blur
and blur only the blue channel — try a something between 2-10 pixels to start ( EXPERIMENT!!!! )
for overall noise reduction blur just the green channel start with something less than 5 pixels.This is the same process digital still shooters use to reduce image noise.
your results will vary every single time!
Make sure you test every shot you try this on.gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows
Chicago, IL
gary@studio37.com -
[iMan] “I would hate to buy into all that only to find that 4 years from now I have a wallet full of P2 cards worth a few cents and a worthless camera. Remember those guys who paid $15,000 for a 2GB HD back in the early 80’s, or $2,000 for a 64MB stick of RAM 😉 could happen all over again with this P2 thing.”
iMan
it is happening everyday in every tech product you touch .
What you are asking for cannot be accomplished with the advancing state of technology. My first HD suite 6 years ago had nearly
750G of usable storage fast enough to be able to do uncompressed HD editing (48 drives in 4 enclosures over Dual channel SCSI) and cost nearly $100KThe same amount of storage for an uncompressed 1080 workflow TODAY is barely 1/10th of that. (I currently a testing a 3.5T fibre array from GTech that will ship for less than $10K and do over 300mgs a second)
DVCPROHD makes that cost 1/100th as much as i paid just 6 years ago.
In 2000 I dreamed of being able to afford a single terrabyte of storage, I did a P2 shoot in italy in march and carried 6 -160gig
G-mini drives and it only added about 3 kilos in my suitcase. – and all were fast enough to edit the DVCPROHD imagery I shot.you just need to decide if change for you is to be
evolution (slow and arduous) or revolution (instantaneous)you should learn about Moore’s law (attributed in 1965 to George Moore co-founder of Intel)
Moore’s law is the empirical observation that the complexity of integrated circuits, with respect to minimum component cost, doubles every 24 months. (everything becomes 2x as fast and 1/2 the cost every 24 months)
or
A similar law has held for hard disk storage cost per unit of information. The rate of progression in disk storage over the past decades has actually sped up more than once, corresponding to the utilization of error correcting codes, the magnetoresistive effect and the giant magnetoresistive effect. The current rate of increase in hard drive capacity is roughly similar to the rate of increase in transistor count and has been dubbed Kryder’s law.
However, recent trends show that this rate is dropping, and has not been met for the last three years.<https://en.wikipedia.org/wiki/Moore's_law>
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows
Chicago, IL
gary@studio37.com -
[lloSouthafrica] “Any reason for fact that it only works once, if you place in the preview window. On the second file for conversion the menu just does not appear when you click on it.”
It should only allow you to do the conversion on the file while in the browser- it should not work on any file any where else.
Many people use subcliping or bins for their captures and that can confuse conversion using the software FRC.
Hence the reason that it is suggested to create a new project and move just the files to be converted there – then move the converted versions back to the original project.gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows
Chicago, IL
gary@studio37.com -
[gary adcock] “[Darren] ” Has anyone actually seen what the Panasonic SDX900 (16×9) looks like, broadcasted on a consumer HD tv?” No. since the camera is not due to be shipping until later this year. (ask again 3 months from now.) “
OOPS!!!
I Mistakingly read that as the HDX 900 and am sorry for the error,The SDX 900 has been out for a while and does look great in everyplace that I have seen it. It also upconverts to 16×9 HD better than many other cameras of its price and class.
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows
Chicago, IL
gary@studio37.com