Gary Adcock
Forum Replies Created
-
[pixeleyed] “Yet, I have tried this setting to capture shot 24p material, and the originally described symptoms were the result. “
I do not understand “jerked up” do you mean you see the 24p judder? (or flicker)
Your post does not explain what the problem you are seeing is[pixeleyed] “Is it correct to assume that you captured direct from the HDSDI stream off the camera?”
As far as i know that is the only way to get video out of the camera, short of pulling a tape out.
I do this at every single Varicamp I do post for. don’t capture bars and tone they are never laid to tape on a varicam at anything other than 60p.Let me ask a dumb question- is the camera set for PAL or NTSC? if you are using a camera set in a PAL country (60hrz) you will need to use the 24frame capture setting, if you are in a NTSC country the setting needs to be at( 59.94 hrz) for 23.98 capture
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA -
[Richard Martz] “A few weeks ago I was looking for data rates for various forms of video including some forms of HD. I needed this to determine if my planned storage medium would be enough for a project I contemplated doing. I could not find it anywhere and could not find anyone here on this post that could help either. “
Richard
this info is readily available on the web and with tools like the Data Rate Calc available free from AJA. <https://aja.com/ajashare/AJA_Data_Rate_Calculator_v1.1.1.app.zip>While your post is full of good info– without the frame rate information for each compression level it will not serve you in the long run. There is not a also mention of how many audio tracks are being captured as part of these setting.
Example: DVCPRO HD -
[Bob Buruchian] “I just purchased an IOLA and I’m dissapointed in the svideo quality also firewire issues when using firewire drives. “
Bob
Sorry to here about this, the Firewire issue is well documented, and it the cased with most highend products they tend to take up the entire FW Bus — you really need to blame apple for the single FW buss on your computer.On the S video quality I disagree, unless there is something wrong with your box.
You should see a higher quality signal over s-video that over composite, but not nearly as much chroma as you do with a component signal.Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA -
[Cloudchaser] “I just got some material back from a telecine house that was captured with the Kona2, using 10-bit uncompressed 1080 23.986PsF.”
If you are trying to use the BMD codecs it will not work,
AJA uses the standard apple 10bit codecs, unless the post house did something odd. Try creating a new sequence with those settings and importing the footage.Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA -
[pixeleyed] “If the 24p video streaming into the K2 is at 60p do you get it to 24p into FCP?”
First off
the 720p video stream (HDSDI) is always played out at 60fps, it is the same whether it is from the camera or from a deck the video is always playing at 60/ 59.94.
The setting is called AJA Kona2: 720p 23.98 DVCPro HD Varicam that allows you to capture 24p content from the HDSDI stream.
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA -
let me add that there needs to be a little pre planning to be able to do this, as the “capture now” process does not necessarily understand the proper flags or pulldown cadence if your not set up for it.
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA -
[pixeleyed] “Is it possible to capture actual 24p directly from a Varicam (not a deck)?”
Yes with the proper hardware,
I have done this from both the K2 and over this past weekend with a Kona LH.
The setting are the same as if your were trying to capture thru the kona from the deck, this is also the way to capture Uncompressed 10bit direct from the camera for compositing when you do not have access to a D5 deck.Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA -
Michael
many people on this list never send out footage for transmission, and you were asking the question first put as if you thought something was in error, which it was not. Fill out your profile, so those of us that try and offer guidance have some idea about your level of experience.
Your first question (BELOW) did not limit the discussion to just HDCam and while you asked a Question about 1080i content it is necessary to understand that without knowing where you were coming from all bases need to be covered. You mention HDcam, yet you captured at a frame rate that many associate with HDV content – that is often brought into FCP via 3rd party cards in the manner you describe.
I brought up the additional formats and compression to try and explain the how and why. You commented that you work in 720p also, so this type of compression squeeze should not have been too far out of your knowledge base if you have ever captured content via FW from 1200a deck.
[Michael Krupnick] “Captured some 1080i59.94 HDCAM footage in FCP5 via DecklinkHD. Specified DVCPROHD codec for capture and sequence. Resulting clips’ format settings INSIDE FCP showed up as 1280X1080. That’s not ATSC standard and looks geometrically distorted (slightly); also requires render to play out. I expected fully native 1920X1080 square pixel raster. ???”
the DVCPROHD codec was created by panasonic so that it would be possible to read the native 1’s and 0’s directly from the tape stock, there is not anything like this for the Sony HDcam format in FCP. The aspect ratio you are looking at is a result of how HD content is compressed at the CCD / tape level Panasonic does this differently than Sony does.
All of the “Digital” HD formats do some sort of horizontal compression, it is how that huge 1.5GBs of information is squeezed onto something as small as the recording head on tape. IF you are not capturing or converting your footage to one of the “Tape — Native” formats — no you would not see this, for no other reason that the compression / decompression cycle is handled by your deck when the content is played out. Just as DV25 footage looks better when handled via SDI rather than over FW.You are correct it is not an ATSC standard frame size, but don’t those standards only relate to the baseband video pipe and not the content as it is recorded on tape. As far as I know, ATSC does not have standards for tape compression and that was all you were looking at, how a panasonic camera would capture content as one’s and zero’s on the physical tape media.
If every company did everything the same there would not be a need for places like that Cow.
If you want (or need) a full size frame to work with, choose a different compression, or based on the knowledge you have expressed here, you really should be considering an uncompressed workflow solution.
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA -
[Michael Krupnick] “ou said:
All HDTV broadcast video signals are 1.5 GBs not just 1080. Not correct, Gary. Only the baseband signals carried through wires are that high.”
I have not mentioned transmission at all, I will stand corrected and say baseband.
We have been talking about the HD editing process and native frame sizes, so I assumed that was what we are confining the conversation to.720p it is the format I work in. Too bad you choose to discount a HD acquisition market that is as large as the one in 1080.
if you already knew all of this info already and just wanted to argue why didn’t say so.[Michael Krupnick] “I have been discussing only one raster – you keep detouring to another. I think you’re missing my point.”
Sorry but there is not just one “raster” in HD, not everyone works in 1080,not every broadcaster transmits in 1080, and less the 25 HDTV sets sold in North America can even display 1080 content and it is nearsighted to think or assume that 1080 is the only format for HD. I will not limited my informational explainations on this very complex subject to a view that is not mine.
Direct capture to the DVCPROHD 1080 codec (HDX400 camera) is actually limited outside of the EU. I am not missing the point, I am looking at it from a larger perspective
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA -
[Francois X] “Darth was asking about 1080/25p / reading you I understand that 1080i50 is progressive ?”
Sorry Francois,
I am still here, I just missed it with my travel schedule.Here are the steps to create a 1080p 25easy setup.
1) Setup FCP with a Kona 2 1080 24psf easy setup.
a) Go to Easy setup menu ( ).
b) Make sure the SHOW ALL checkbox is checked.
c) Select one if the Kona 2 1080p 24 easy setups (uncompressed or DVCpro HD – your choice).2) Create a 1080p 25 capture preset.
a) Go to FCP audio video settings -> capture presets (tab).
b) Click on : Automatically makes a copy and puts you in the preset editor.
c) Rename capture preset to Kona 2 1080p 25.
d) Change FPS from 24 to 25.
e) Exit.3) Create a 1080p25 sequence preset.
a) Go to FCP audio video settings -> sequence presets (tab).
b) double Click on the chosen setting: Automatically makes a copy and puts you in the preset editor.
c) Rename sequence preset to 1080p 25.
d) Change FPS from 24 to 25.
e) Exit.4) Go to FCP audio video settings -> Summary and click on Setup>. Name it Kona 1080p 25 “codec name”. This easy setup is based on the new capture preset and sequence preset you created in steps 2 and 3.
Quit FCP and restart.
ga
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA