Gary Adcock
Forum Replies Created
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[Shane Ross] “23.98 is reserved for HD, DVD and Film. You should NEVER edit in a 23.98 timeline if you are ever going out to Standard Def tape.”
Actually you cannot lay 24p material to Tape in SD. It does not really exist outside of a lab or 2.
NTSC is always either 30 or 29.97 fps on the tape – that is why there is this 3:2 pulldown stuff (which creates a cadence of 2 duplicate frames, then 3 duplicate frames)This is not an issue when working with progressive HD formats or with 24 frame Standard Def. captures using the new HVX200 when capturing your content as media (as opposed to recording to tape)
The other thing to think about is with rare exceptions (outside of LA) most 24p video content is cut and finished at 23.98 for film outs.
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA -
[Chris Dabner] “But the sequence I’m working w/ now is 525 DV and it shrinks up to the upper left corner. Where do I find the AJA KONA 525 DV codec for the view/video playback menu.”
DV material is 8bit so use the NTSC 8bit setting for video out.
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA -
I have to say I was not sure coming from VariCam if this camera was a good idea, but I have to admit that it has really blown be away with the easy of use and the quality of the imagery. I see it as a great solution to something I did not think I really needed. Remember that 2 8gig cards @ 720p24 give about the same amount of capture time as a VariCam Tape does (40min on P2 –41min on the VariCam tape.)
The fs100 is a viable solution for people needing long form capture. The comment I keep hearing from people is they will need to be a little more diligent with shooting when it comes to shooting on the cards. DP Matt Segal made the comment that “it’s like shooting film – it costs too much to waste, so people will need to rethink the free run shooting that most DP’s do when video now a days”
and it is shipping in 2 weeks.
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA -
Your not running the most current drivers, or do not have a Kona 2 or LH/e card. The pre-Kona 2 versions of the cards did not support 10bit in1080p24 HD.
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA -
[Walter Biscardi] “The thing that’s really funny to me is 720p / 25 works just fine in HD-SDI. “
Actually there are more than that Walter, all of the offspeed captures work correctly with the Kona, so any type of acquisition that is not based around the “native” time bases (those that capture over FW)
This is the one that confuses me, it works when it is the most complicated type of HDSDI capture not when it is the easiest.
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA -
[Jon Houldsworth] ” 17″ HD monitor all we got was a grey screen and the same in the view finder but giving an error and flashing up ‘servo’ with the warning lights going off.”
the servo warning on the often comes up when the playhead is beyond the TC on the tape.
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA -
[Kaku Ito] “from FX1 via firewire at HDV preset in the FCP5, then monitoring the clip through Kona LHe and to JVC DT-V1910C through HDSDI connection would result in having a vertical line that seems to be reflecting from the right side of the clip.”
I have run to issues such as this when crossing SONY DV camera masters with decks from JVC. WHat does it do in a sony HDV deck?
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA -
[Sheldon Pilot] “I’m sure AJA and Blackmagic could learn a couple of things that would not require a post effect filter to be place over mastered QT’s in third party applications like Sorenson or FCP.”
remember Sheldon that these companies are making video products and in their world interlace is not really an issue as the final output for content is meant to be played out to a TV that interlaces everything. ( not too many Pal or NTSC progressive displays for consumers)
As more and more people move into HD however this will become more and more an issue as most production in HD is not shot as interlaced any more – almost all is being shot so that it conforms to the progressive standard (even if it needs to be shown as interlaced at some point.)
gary
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA -
[babs] ” had thought that Final Cut would offer a specific compression setting and command for export to iPod.”
no use the format chosen in QTpro 7.03
you get the best results when NOT working from a compressed ( IE:DV) master file.
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA -
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