Gary Adcock
Forum Replies Created
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[Nicolas Ayerbe]
“0 com.aja.kona.muxer 0x137bcc15 CNTV2MacDriverInterface::ReadRegister(unsigned int, unsigned int*, unsigned int, unsigned int) + 203
1 com.aja.kona.muxer 0x137baace CNTV2MacDriverInterface::GetOutputTimecodeOffset(unsigned int*) + 48”my guess is the Wrong Driver or lack of updated kona firmware. You need to make sure the firmware on the card is updated and that is a manual process on all of the older Kona cards.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[Adam Foskey] “To further elaborate, The editor and anyone who tried to open the files whether in Final Cut Pro or in Quicktime always got the same message back: “This is not a movie file.””
if the file has not been downloaded from the camera correctly, there is not much you can do, because there is no “end of file” ID Quicktime does not understand what to do with it, is it the same on all of the copies you have?
what about the other shuttle drives?
does the Data handler have copies?FYI- this cannot not happen in the camera- this is a file transfer error on the data handlers side-you cannot corrupt a ProRes clip in an Alexa, not even by pulling the SxS card during a record or killing the power, the camera was designed specificly with data recording errors in mind.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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it should be marked on the card at the serial number.
if not doesnt cutter stevens still work there? he would know.
ga
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[Tom Greger] “Originally we were shooting on the Alexa at 23.976fps 1080 progressive and I couldn’t get picture at all.”
thats becuase there is a huge difference between P as shot and PsF as progressive is delivered.
First guess was the montior you were using did not support a true progressive signal ( was it a CRT?) or were you monitoriing out via the HDMI (psf is not a supported HDMI protocol)If the KiPro was set to record as Normal- the content would be recorded correctly. but understand that the transport stream for 1080 materials is ALWAYS interlace, even if shot progressive.
” When I got home I used another HD source and the picture was fine. If must have something to do with the Alexa.”
See I do not see an issue with the camera, I see an operator issue without understanding the full setting of the camera and display to accuse the camera of an error is a little short sited, as you say the content looks fine- my guess is that you had something setup incorrectly- like shooting progressive when you really need PsF.gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[Oliver Peters] “I believe these are just default settings. His plug-in uses his own curve values reverse-engineered from ARRI’s log-C to 709 corrections.”
That is correct, as would be almost all color correction done in RT within FCP, it is also my understanding that there is a large amount of clipping and clamping in the Shaw filter profile to achieve something close to what a real LUT workflow should be, its not just about the color denisity its about adjusting of the gamma of an image heavily weighted in the shadow areas without clipping the highlights.
I use the GlueTools Arriraw converter that also allows for implementing CDL or other 3D LUTs on import when using an Alexa ProRes file recorded in LogC, it was built as part of the offline/ online processing to use Arriraw but as an aside it does allow for a real LUT to be used within FCP.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[Ted Coats] “Thanks for your response. To be clear, the audio is ahead of video, not delayed.”
thats correct, I always think of the video being behind the audio, my apologies for the confusion.
Follow thru with Tech support, if it is in your unit they will find it.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[Ted Coats] “ve been doing some tests with Ki Pro Mini and a Varicam H. The recorded audio is 2-3 frames ahead of video.”
Yes That is correct, that is the same that is laid in the camera to tape, if my memory servers me correctly when you have an H model, you can correct the audio delay in the menus.
“I spoke on 2 occasions with AJA Tech support. I updated Firmare at their recommendation but this didn’t resolve the issue.”
The 720p30 issue has been around for awhile, its not a “true” SMPTE format but a digital hybrid, however the audio delay in the HDSDI signal is from the camera and they cannot fix that segment.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[Leonardo De Mai] “Anyone know how to solve this problem without loose the files realized ?”
I am NOT going to say anything about how having all of your footage backed up multiple time or why you should not be using the capture drives to edit your media from.
Most likely there is something that has been added to the file structure on the drive that does not allow the KiPro to function properly.
Have you tried attaching the drive module to your computer via FW then booting your CPU up? if the drive mounts – remove all of the media from the drive and reformat the drive module immediately.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[Adam Kitter] “At present time I import my footage into cinema tools and conform the 60P to 24p then use the conformed footage in my 24p timeline.”
That would not be the best way, you are actually loosing many of the benefits of working within the confines of “off-speed” as most of the capability of manipulating time lies within the camera itself.
Are you shooting with a camera that supports VFR (variable frame rate) recording? A number of the 720p camera do support some level of shooting in this manner, Panasonic being the leader with cameras as far back as the first Varicams. Now most Prosumer level and above cameras allow you to shoot 720p specifically to be played back slower or faster than it was originally recorded, as Sony does in the EX and F3 series cameras.
You are turning your entire clip into slow mo via brute force, where as working off-speed and making it look right require that you think about things like shutter angle and DoF, as the higher frame rates needed to slow the motion down (your 59.94 / 23.976 conversion is a mild 2.5x speed increase) also increase the need for more light and different shutter angles maybe required,
Working In-camera also allows for dynamic speed ramps during the shot something needed for highest quality of image or if you are outputting to a live broadcast.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[Fred Jodry] ” am now suspecting that the distance from the PL mount or rearmost part of the lens barrel, both near each other, to the photosurface located inside the camera body might be the long, very usual 105 MM or 4 inches, approximately”
Fred,
I do not know where you get this stuff, and that is a totally incorrect and inaccurate pronouncement.
Arri invented and owns the technology behind the PL lens mounts and there cannot be more than the prescribed 52 mm of flange focal distance from the rear element to the imager/ film plane with a 54 mm diameter.https://en.wikipedia.org/wiki/Arri_PL
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640