Gary Adcock
Forum Replies Created
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gee
I don’t about this, should we let him in?? does he know the secret handshake?
ga
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows
Chicago, IL
gary@studio37.com -
[Ethan Cooper] “I’ve captured varicam footage both over firewire and through a Kona LH card and see no visible difference between the two. “
You should not see any difference, AJA worked really hard so there was not any. But this really means that video captured from other NON DVCPROHD sources will compress properly when using that codec
[Ethan Cooper] “The Varicams produce a much sharper, much cleaner picture all around than the HVX. Not that the HVX is a bad camera on it’s own. … but when you put the two side by side, the HVX just isn’t in the same class. I do have to report that the HVX does produce quite a bit of noise, but again, if you don’t have any better footage surrounding it, most people wouldn’t notice.”
2/3″ imager vs 1/3″ imager is part of the reason.
Shorter depth of field is another.As for the noise issues with some tweaking it is possible to minimize the noise in the x200, whoever part of that depends on the conditions and part depends on the subject matter.
I had HD content from both cameras in running in the AJA booth that showed similar footage and they were so close I actually had someone argue with me that the Varicam footage was really from the HVX200.I have been able to consistently match a HVX200 and a Varicam multiple times. It takes an understand of both cameras and a good scope.
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows
Chicago, IL
gary@studio37.com -
[Marigolo] “Is there an “easy” way to downconvert the HDV 1080i into DVCProHD 720p?”
The DVCPROHD codec is also 1080i so why the need for a cross conversion?
Just stay at 1080 for the post using the DVCPROHD codec[Marigolo] “Does it have to do with the interlacing on the HDV footage (which, by the way, is going in Component analog into the LH)? I was under the impression the KONA LH would be able to re-size while capturing.”
the KONA LH does not do the cross conversion as you stated the Interlaced to progressive conversion takes more horsepower than that card was given.
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows
Chicago, IL
gary@studio37.com -
[Dave LaRonde] “But 30p is still NTSC video, and the NTSC standard calls for two interlaced fields at a frame rate of approximately 29.97 fps.”
I said I was erroneously talking about HDV content.
30p is not just NTSC, as most HD cameras can also shoot 30pbut it is possible to see the difference between 30p and 29.97 if your display monitoring display supports a truly progressive scan.
and thanks for not screaming.
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows
Chicago, IL
gary@studio37.com -
[Dave LaRonde] “What???? We ARE talking about NTSC video here, right? Yeah, I thought so.”
Sorry Dave, I was under the impression we were talking about HDV, but I see in the posting that I was mistaken. I did mention the the Canon H1 in my postings, but I see the original posting was about an XL2
[Dave LaRonde] “And because EVERY NTSC frame has TWO fields, camera makers have to jump through a bit of a hoop to get 30p and 24p… but not 60i.”
Gee is that not what I said? that all of his video is 60i so stay that way?
and there is a playback difference between video shot at 30p and at 29.97 on a professional display.
and it is not necessary to scream….
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows
Chicago, IL
gary@studio37.com -
[keith salkowski] “A sales guy at GTECH told me I could connect two of their G-SATA arrays with a four-port adapter card, stripe the arrays and get increased performance over a single G-SATA array.”
That is correct.
It is no different than doing it on anything else. You should see between 50%-70% increase in throughput
when adding one additional drive and striping the 2 units together. However adding more than 2 drives to any single bus will not give you any more than about a 75% increase due to the limitations of the data bandwidth during transfers.and the same holds true for Firewire also.
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows
Chicago, IL
gary@studio37.com -
[CharlieX2] “I only see them outside of final cut. i can’t pin down anything… we’ve got a feature film at DV50 @ 23.98 that hasn’t had ANY problem compressing.”
QT controls all of the graphics on your mac, not just then movie files. All of the GUI runs in QT. This is not the same as FCP does.
Chances are the chosen codec is requiring a faster drive than you have or that something else is robbing resources. FCP can pass off some of its needs to the GPU whereas QT cannot.
99% of all playback issues are a result of 2 things- your drives are not fast enough or too full to respond correctly OR QT having a resource conflict / decoding error.gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows
Chicago, IL
gary@studio37.com -
[Jan Crittenden Livingston] “I imagine much like the SD product, you set up the capture as the 29.97 rate, then set your sequence to 23.98, with a check on the remove 2:3:3:2 pulldown. Then import Panasonic P2 and by the time the stuff is in the bin it is 24P. Anybody have 5.1 loaded.”
Correct jan, in 5.1 you have the ability to handle the 24pA footage in the same manner as one does with the
SD version of the Advanced pulldown removal.Zack the reason for the TC is at 29.97 is the standard for in-camera recording for interlaced captures- which are all at 60i.
The 108024pA footage is laid to tape( P2 card) as 60 interlaced fields that then need to be conformed back in to the 24psf frame structure of the 1080 24p format.
(HDCAM 1080 24psf footage is played back as 48i on most systems, also using the 29.97 time base.)gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows
Chicago, IL
gary@studio37.com -
[RoddyJ] “If you format on a PC you have the option of naming the card, not in a Mac.”
you have the same options to keep the existing name or rename on the mac also, as I’ve been doing it for months with my HVX200s.
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows
Chicago, IL
gary@studio37.com -
[Videobill] “what would be the 2nd easyest way of dealing with this, or what other otions do you see tht I could use. And if I set up the FCP system to edit 60i will how should I capture the video? Or what if some of the video is captured at 24P?”
All of the content is laid to tape with the H1 as 60i (especially since FCP cannot see the 24F mode from that camera currently) So all of your content is already at 60i.
The Canon H1 does not capture a Progressive image in the same manner as a DVX100 so there are some anomalies with the look. So to achieve what you are looking for- the camera man did you a real disservice.30p video tends to have an (IMHO) annoying staccato look when played back due to the duplicate frames added to achieve the 60i , 24p footage has the pulldown added to it already to make it 60i.
and the 60i is well 60i.gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows
Chicago, IL
gary@studio37.com