Gary Adcock
Forum Replies Created
-
[liv2snoride] “Well said Gary – FW can suck. But there are alot more FW drives in use than fibre:)”
maybe in the consumer/ DV video space, but not when we are talking about HD or share workflows.
Fibre and SCSI rule and have since the beginning. The FW 800 workflows are what, 3 years old?
whereas I have had fibre in my office for 6 years and scsi for over 12.We are talking about working in HD, not DV and everyone needs to respect that just because the signal can be passed over FW does not mean that is a professional way to work.
Join us at the NAB FCPUG SUPERMEET
Wed April 26th @ the RIO for details go to https://www.lafcpug.org/nab_2006.html -
[luminist] “I am shooting a music video and the shooting rate requested is 24p. I am under the assumption 24.00p is strictly for transfer to film…”
When talking about 24p in video the frame rate is actually 23.98 (23.976). If your Varicam is set correctly for production in North America( 59.94 hz), setting the frame rate of 24 give you the correct 23.98.
[luminist] ” there will be smoke put into one shot as an SFX in post – how does that effects-work play into my choice of frame rate?”
it should not effect how you shoot at all – that is for the post house to determine, ask them- the better the footage shoot the better the effects will look when matched to it.
I recommend never using gain with SFX shots unless determined by the SFX/ Post Supervisor.If your NOT sure what they need –ASK — just do it before you shoot a frame.
Join us at the NAB FCPUG SUPERMEET
Wed April 26th @ the RIO for details go to https://www.lafcpug.org/nab_2006.html -
[Michael Alberts] “No RAID needed for 720p 24 DVCPro100. Just use a FW800 drive such as the GRAID. Data rate is minimal; something like 10MB/sec. Use the Digital Heaven Widget to calculate your storage requrements”
thats not exactly true, while FW 800 is fine for a single stream of 720p24,
The entire basis of working in HD with FCP really wants to have higher end storage. Faster arrays mean a number of things, more RT effects, more streams of realtime, faster compression, faster renders, smother playback – all do to the increase in bandwidth available.Remember that RT functions in Final Cut are directly related to how fast your machine and storage are.
Funny also — I do not see too many posts about fibre arrays that suck, but lots and lots of posts on FW drives that do.
Join us at the NAB FCPUG SUPERMEET
Wed April 26th @ the RIO for details go to https://www.lafcpug.org/nab_2006.html -
[airplanesteve] “. The issue between SDI capture and Firewire is interesting. I was hoping to use the Kona card because I thought it would be a better match between formats if I used the HD Component outs of my HDV deck into the Kona card and have the SDI feed out of AJ1200…. “
First off according to the specs I have seen there is no difference between the SDI > DVCPROHD conversion on the Kona Board vs the direct FW capture. (this is only true with the Kona however)
Secondly– your bigger problem is your workflow. You are trying to destroy your progressive true HD varicam footage to match the consumer HDV– this is really backwards. The editing solution should determined by the higher quality / quantity of video. You are loosing all of your quality when you “dumb” down the 720p HD @ 4:2:2 footage to the HDV60i @ 4.2.0.
Join us at the NAB FCPUG SUPERMEET
Wed April 26th @ the RIO for details go to https://www.lafcpug.org/nab_2006.html -
[David Battistella] “Is anyone having any success using the new TC burnin feature of the K-2 Driver? I wish there was a way to activate this from an FCP timeline. “
sorry david
you need to use the Kona TV app for this, but it will allow for Ref movies and RGB+Alpha QT files to have the burn inJoin us at the NAB FCPUG SUPERMEET
Wed April 26th @ the RIO for details go to https://www.lafcpug.org/nab_2006.html -
[Tom Bristow] “When attempting to lay off to the 720P D5 tape the picture constantly jumps or shifts, what looks like incorrect reference (although all the reference to the MAC & deck are correct) and audio breaks up. “
Tom
this does not sound like a Kona Issue, but without info on the driver versions I cannot be sure.Have you checked
Kona Control Panel is set to 720p
the Files are rendered prior to layoff
the audio files are mixed down
( and just check the trilevel sync to make sure that the Kona sees it.)Join us at the NAB FCPUG SUPERMEET
Wed April 26th @ the RIO for details go to https://www.lafcpug.org/nab_2006.html -
[Jim Calahan] “I spoke with my reseller and he stopped by to look at the video it looks like FCP isn’t doing to good a job with the 3;2 pulldown and we are looking into a plugin.”
You are correct– the adding and removal of pulldown is usually a hardware based solution.
My question is why, if this is a software based solution do you need it to be 29.97 rather than 24p? for Web and DVD delivery the 24p content is more efficient and in the case of DVD’s the pulldown is added back in via hardware.Join us at the NAB FCPUG SUPERMEET
Wed April 26th @ the RIO for details go to https://www.lafcpug.org/nab_2006.html -
[Mike Schrengohst] “Ould having stock footage in the Native DVCPRO HD codec be of any interest to anyone? “
A couple of companies already do this, Thinkstock for one. Corbis will deliver in DVCPROHD if you ask.
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA -
[JeremyG] “Does anyone know of a facility that does terranex conversion in Chicago? Looking to upconvert SD to HD with the utmost quality.”
Jeremy,
contact me offline,Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA -
[David Battistella] “I am starting to think it has somethiing to do with codec limitations. It is an 8-bit codec that is being recorded and with all of the compression involved, something has to give. “
comon David.
all “in-camera” recording formats are 8bit
you can only get 10bit out when using an external recording device.Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA