Gary Adcock
Forum Replies Created
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[toke lahti] “Sad to know that Panny decided that we Europeans do not need 60fps…”
Blame the EU for topping your sync at 50….
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA -
[ewin] “The media is not 24p it’s 720p 60. The footage was shot at 60fps and the FCP timeline containing my selected subsclips is 60fps. I don’t want the original clips’ timecode retained, I just want the new master tape containing all my clips to record at 60fps instead of 29.97fps.”
All 720p footage has to play out as 720p over 60 frames –so then the lay-back to tape should be fine– as it will appear on output the same as it looks in your rendered FCP timeline. You may be confused in that the 60i or 60P timelines still use 29.97 as the time code base (29.97×2 = 59.94)
Varicam Ops for the most part work at 24 or 30 fps, and shoot 60fps only for effect ( like the NBA)
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA -
[Shane Ross] “he NLE doesn’t send out that information…it sends out the timeline information.”
Correct – And the flagging info is not included in the FCP translation.
Now are you talking about 60FPS in a 24p timeline or just 24p?the 24 frame content should translate from the FCP timeline on output correctly and yes the TC track should always 29.97.
How about a little more info about what you are trying to do.
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA -
[Grantly] “The real crux of the issue is highlighted when you take a HD clip and put it in a HD comp and output HD then create an SD comp and put the same HD footage in that scaled down to SD and the output is significantly different, when really the only difference should be the resolution. This takes any conversion process out of the picture.”
Are you taking into account that the color spaces are vastly different. There is not really such a thing as “broadcast safe” in HD. What were the results with playout via the free Kona TV app? if they are the same then it would be a hardware issue, if not you need to look into what and how you are working.
SInce you did not mention any of the hardware or software versions you are working with we can only guess at your problems.
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA -
[Barry Green] “Gary, did you turn off the thumbnail screen? You have to be in MCR mode, and turn the thumbnails off. Then you can see the firewire input playing on the LCD, and use the two record buttons to record that incoming stream.”
that is correct Barry, my main problem was I was trying it on a prototype not a shipping unit.On the shipping unit I have been able to “crash” capture back to the P2 card an incoming HD stream from FCP,(not in the PN mode of course) but a crash capture is not something an FCP post guy likes to do as FCP does not pass the TC back thru to the camera.
I have not been able to get the camera to dynamically sense the FW connection and capture on it’s own
nor have I been able to batch capture direct from the camera.Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA
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[Brian FitzGerald] “I have been told by another moderator in this forum that you CAN output from your NLE back to the camera P2 by Firewire.
I need to use this feature in order to bring commercials I produce to air.”I have tried it in FCP and have not been able to too. There is no mention about recording back to the camera in anything other than analog in to the DV tape.( Manual; p89) There is not a provision to record to the P2 cards listed.
I trust Barry’s comments on the avid -however the avid adrenaline in texas was not able to talk to the camera in the manner that barry posted.The Avids can also read the metadata on the cards better than FCP can do also.
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA -
[Shane Ross] “D5 would be digitized at uncompressed 10-bit 4:2:2 or 4:4:4, depending on the capture card you get.”
Shane
sorry dude but the D5 deck is not Dual link only single link HDSDI. so its 4:2:2 only.
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA -
[John McClary] “how many P2 cards can you download before you get a “too many folders/files”-like error? Anyone know?”
that number would be 15
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA -
the x200 camera sends whatever video stream you capture out via FW –that is how you can record directly to a 1200a deck.
If set properly the Camera will control the start/ stop / pause functions of the 1200aUSB or FW can be used to transfer the Data from a card in the camera to your edit suite.
you cannot record to the camera over FW or USB the data is for playout only.
Data transfer from the cards is accomplished in Host mode, which requires you to got in the hte MCR/ VCR mode then hold down that button for 3 seconds to get to the Host mode.
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA -
[Berry Helfand] “I just cut a film on HD-CAM…but the final product was for broadcast. If I had to do it over, I would have used DVCpro HD…it’s not exactly as good as HD-Cam, but a lot cheaper to rent the decks.”
I do not agree with that Berry,
I have found that my HDCAM masters to not be as good as they can or should be for mastering, I still prefer D5 over HDcam (SR is a different matter) How can you say that a 3:1:1 color space can be better than something that is 4:2:2?Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA