Gary Adcock
Forum Replies Created
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[ecca2323] “1) “No signals are output from the 1394 terminal during recording or recording standby in the native mode.””
thats because the Native mode is card only – via the FW connection you will only receive a video stream – that means that it would follow the specs for the 720p/60 format. – so what ever you capture would need to be run back thru the software FRC in Final Cut to get to the frame rate you shot it at. Remember that your actual frame rate is always embedded into a 60 frame data stream
[ecca2323] “2) “Sound is not recorded. However, sound will be recorded when the same frame rate is used for both recording and playback.””
No sound is passed thru when capturing in the PN modes with Variable Frame rates. This is the same as with the VariCam when converting via the frame rate converters you loose any sound on tape.
Shooting and playing back at the same speed ( 24 lets say) there is no issue.
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA -
[Chris Tomberlin] “When is “good enough” good enough? You have to decide that for yourself…….. Are both approaches “identical” with “no difference” between the two? Nope. Call me a purist, absolutist or whatever, but I’m just calling it like I see it.”
Chris
I have refrained from diving in on this but know that you and your opinions are not alone. I have argued this more than once and came up with the same result. I worked from a telecine master – so there is no camera bias in the images.I found the same issues that you show above
in actually it shows even more so in High key or Low key imagery.I understand that everyone wants DV and FW editing to be perfect, and for the vast majority of users they do not own scopes or use monitors of a high enough caliber to view some of these issues. Not to mention that there is only a handful of us that would go thru the time to test out the workflow to see what works for them.
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA -
[richard] “What’s the “Hand shake” like between AjA Kona and the camera thats been causing a stir, the Panasonic HVX200.”
Kona products have been used with the HVX200 from the beginning. The music video shot for the release was cut on FCP using a Kona 2 card, FCP studio and Final Touch by DP/ Editor Michael Caporale. All of the side by side comparisons people will start seeing in the near future comparing the 200 with the Sony and JVC cameras where assembled as uncompressed 8bit data streams via a Kona LHE.
Kona Products and Panasonic have just worked since Apple started promoting the DVCPROHD workflow.
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA -
[Ken Pugh] “Anyone any idea what might cause this – and if its fixable…. “
get you data off there asap.
At the least you should Backup the data as soon as possible.
After you save your data, then you can worry about fixing the drive.Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA -
[scott davis] ”
Okay, I tried that, but I got an error that said, “Incomplete or Corrupt File” and the P2 lights on the camera were flashing orange. It simply wouldn’t let me import. Trust me, I tried.”That meant the camera settings and the footage did not match, in this mode the camera needs to be set to the same setting as the footage being recorded is so that the camera knows how to move the “transport stream” . Extracting from the cards directly is different because there is not a camera to be sensed by FCP.
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA -
[scott davis] “Maybe because I’m a moron, but I couldn’t figure out how to import right into FCP until I realized that you need to have FCP 5.0.2. Ooops. Go to the newer suite, and I still couldn’t get the footage off the P2 cards into FCP without loading the footage as real-time Firewire load. “
AH
you must be in version 10.4.2 and QT 7.03 or newer with FCP5.04.
it does not work with 10.3.9 ( says so in fine print of the the 5.04 upgrade)Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA -
[infohou] “WXGA resolution (1280 x 768) Not what I would call HD. “
Why not? if fits the standard for HD as set by the ATSC and complies with nearly 95% of all consumer HD sets in resolution. ( Oh so you thought that set you were looking at was 1080?)
and by the way, where in any of the specs for your set does it say it is 1080 Native? Sony was one of the best at selling sets that were not in the spec for their 1080 format due to the costs involved for producing a Native 1080 set, and normally sony actually gives the resolution of the set if it is a true 1080 display.
According to CEA (consumer electronics assoc) Less than 4% of all sets sold in the last 2 years in the US were actually 1080 Native. At CES ’05 only something in the order of 10 sets were being touted as 1080 native, This year at CES 06 that Number jumped to nearly 60 (of over 300 different models)
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA -
[Ron Shook] “Proprietary scare tactics aren’t becoming. Either REV works or it doesn’t, and I find it incomprehensible that TGV would have this much riding on something that doesn’t work.”
As Graeme said – it is an emotional issue.
I have used and discarded literally 100’s of iomega jaz and zip disks and drive units. I actually bought 3 jaz drives just to keep with for the archive of ILM content I worked on in the late 90’s.
I was referring only the truth of the Iomega REV product legacy. ( and it is obvious that I was not the only one burned)
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA -
[maya30] “nope. it was imported to final cut from DAT and synced in the timeline. right now it’s 48 KHz and 16bit”
my original comment still stands
Since your edit is 23.98 / 48khz — all is good with the way you are working, and you should be good to go.
your settings and workflow do sound correct.
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA -
[Pierson] ” I nested the .PNG with a piece of slug and applied the trans to the Nest–looks fine. Laborious, but fine. I haven’t noticed this kind of thing before, though, is this endemic to DVCPro HD timelines? Why would slug make a difference?”
the problem is in quicktime, you are doing an RGB > YUV conversion
(a grayscale file is still RGB) and that is where the problem is.
I have less of an issue with PSD or PDF files from photoshop (and yes you can use a PDF in FCP)
you may also try changing the color space to LAB and try that.Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA