Gary Adcock
Forum Replies Created
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[fookai] “Steve Jobs stated that the New Intel Desktops will be available for shipping in June 2006. I do not want to be the beta tester for these computers”
Then buy the most you can afford NOW. this will hold you off for as long as possible.
[fookai] “f I need to do uncompressed HD I can just buy an HD capture card and put it into the G5. I think the HD Capture cards start at around $600.”
Nope not for that new machine, currently the only HD capable card for PCIE is the Kona LHE and it is $1790.
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA -
[NorbCC] “The 900 shoots at 1920×1080 on HDCam, but I’ve read on the forum to use 1280×1080. “
that is the compression ratio of the DVCPROHD under 1080.
You really need to hire someone that you trust and is qualified to set up your system. OR at the very least someone to guide you through the pitfalls of working in HD. The hardware needs if you make a mistake can be daunting.Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA -
[Michael Brennan] “In my book a “True HD” camera is one where the number of pixels recorded matches the SMPTE format and where the number of pixels in the camera head is the same as or greater than what is recorded (and it has a lens matched to the format).”
acquisition and compression to tape are to completely difference things, I do not disagree about the Genesis or Viper (what no D20 or Red?)
I can attach a D-5 Deck to a VariCam and capture the full 1280×720 @ 4:2:2 space, I can attach that same deck to a F900 and get 1920×1080 and capture it in 4:2:2 also (instead of the 3:1:1 HDcam records to tape)
“The top of the line Varicam records 960×720. Is Varicam True HD? No! There is no 960 x 720pixel HD format defined by SMPTE. So HDCAM format 1440×1080 pixel ain’t true HD SMPTE 274 either.”That is not correct. You are comparing apples and oranges.
Varicam/ DVCPROHD standards conform to the SMTPE D7 and D12 specs for content acquisition.
The SMPTE 274 specs you refer to is the video stream being delivered over HDSDI and not what the cameras acquire.Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA -
[Chris Baldwin] “I’d really like to know the fastest it and the Firestore can transfer to a firewire deck. I am right though that onced transfered to a firewire drive that the drive would act exactly the same as a P2 card once connected to a NLE? And it could be edited right away?”
Chris, it is my understanding that the data transfer is fixed at about 1gig per minute from the cards / camera. I do know that the Firestore unit is copying the MXF data stream direct so only Avid can read the resident data without translation. FCP certainly cannot handle the content without stripping off the metadata first. I am going to assume that the Cineporter is to do the same thing based on what little data is available.
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA -
[Chris Baldwin] “I am not up to spec yet to understand the jab about “true HD””
the HVX200 shoots the same format as the top of the line Varicam, it is considered to be a “True HD” format where as HDV was conceived as for consumers- it is not frame accurate for editing in its native space.
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA -
[bob@itv] “Is there a way get timeline timecode out my Kona 2 SDI ?”
FCP does not support TC over SDI. the kona board does.
if you are working in the DVCPROHD compressed codec there will be no difference with the lay back to tape between FW and SDI.
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA -
[bob@itv] “We just got a 1200A and we’re trying to edit to tape via SDI and we have machine control via rs 422, device control set to pana-59.94 ? in Kona 2 settings, we have machine control but when we go to execute it doesn’t respond. “
it is not an issue with insert editing you have settings that are incompatible.
Check to see that you are using the Kona 2 easy setup preset for 1080i29.97
Check to see that FCP is set to use the same settings for video playback.
Check to make sure the deck is in remote.
Check to make sure the deck is set to record 1080 via SDI at what ever compression you captured at
Check to make sure the Kona card is set to playback the same. ( DVCPROHD/ 8bit / 10bit/)lastly check to make sure the SDI out from the K2 is in the correct port on the deck, and your Kona control panel is set correctly for your content.
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA -
[Sean ONeil] ” I understand the Varicam @ 24p uses the same pattern as 3:2 pulldown. But because it’s not interlaced it is not mixing together fields that do not match. So I wouldn’t consider it the same thing. The difference is significant because for example, you could scale it to 1080i without having to first do a reverse telecine.”
File conversion is the last step of any edit process. the cross conversion to 1080 stays at 24 in my world. so the conversion to 1080 24 as the last step and the 1200a and 1700 series decks do this easily.
The varicam does not shoot 1080 only 720, if your going to work at 24p there is not a need to use advanced pulldown – the content is progressive. The 24pA cadence issues came from the time when we were tying to get the most out of interlaced content when nothing properly supported 24p timelines in the NLE’s space. Panasonic pioneered it with the DVX100. FCP does a fine job of handling the 24pA content in SD.
The reality is that other than the HVX200 I am aware of No 1080 HD or HDV cameras that capture in the 24pA mode. HDCAM only records the 24 frames to tape, Sony HDV uses a proprietary 24 frame cadence I have never been able to extract. Canon HDV only works in the camera so go ahead and chew up your record heads.
SO if you are shooting HD @24fps do not go back and forth thru the interlace.
Capture at 24p stay at 24pDVCPROHD compressed 1080p24 content is about 11 megs a second for the data rate from the drives and DVCPROHD 720p24 is only about 5.5 megs a second — so why go thru all of the extra hassles when this things are easily done over FW at the Native 24fps.
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA -
[Suika Suki] “But I’d also like to be able to see quality changes on the computer screen itself.”
Not if you are working with interlaced footage – there is no way to get correct looking interlaced footage on a progressive computer display.
Not to mention they have very, very different rendering intent of color spaces.Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA -
[tangier Clarke] ” If there’s is no cadence info (which I believe there is) recorded to tape by the Varicam in 24p mode, then why should Apple bother even making a preset for it?”
Of course there are dupe frames on the DVCPROHD tapes! How else would 24 frames play inside of the 60 frames on the tape. Panasonic uses the standard 3:2 pulldown on all of their progressive content. They do not use the advanced pulldown on progressive content.
[tangier Clarke] “Additionally, I have been successful at capturing 23.98 fps DVCPRO HD using the 720p24 preset in FCP, but only when I use the CAPTURE NOW button,”
I asked how and what you were capturing in my first post
https://forums.creativecow.net/cgi-bin/new_read_post.cgi?forumid=8&postid=876462
TC breaks, color bars, speed changes in the content being recorded all can cause a capture to revert back to 59.94 in FCP. if the cadence is not the 3:2 FCP is looking for it reverts back to the native rate on the tape.[tangier Clarke] “I’ ve never had any need for the FRC at all.”
too bad. it is a wonderful extension of FCP to be able to use camera controlled offspeed frame rates.
it is one of the best reasons to shoot with a varicam. The hardware version of the FRC is $22K, in FCP it is free.Gary Adcock
HD Solutions Post Chair
NAB 2006