[Gary Adcock]

Dave

without knowing what you have it is hard to help.

IF you are cutting SD footage and viewing on a native HD display there is a very good chance the monitor is causing the issue.

IF you are cutting HD footage, you could have a down converted output that your monitor is up-converting

turn off any settings in the monitor use the default or Standard settings.
DO NOT EVER use any enhanced images settings on your post monitoring solution.

gary adcock
Studio37

Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, IL

https://blogs.creativecow.net/24640

[Gary Adcock]

[Mike Jeffs] “I was Watching the PBS show Electric Company the new version, I really like the colors and saturation they achive with very little aux light, as most of it is shoot Outdoors.”

Many camera mfg’s allow access into the Color Matrix on many of the Pro and Prosumer cameras, this is where you go deep into the menu structure and modify the cameras ability to record chroma and luma.

Usually reserved for the high end, many cameras are now allowing users access into the heart their color science, since ALL cameras ship from the factory with colorimetry set well within the REC 709 specifications, chroma levels in most shipping HD cameras is usually between 65%- 75% of what is capable within the “Legal” SMPTE specs.

The same matrix controls allow users to correct color temperature or to modify color phase, whether compensating for camera issues or bias, to creating a brand new ” look” like you are referring too. This is often done Onset with highend cameras with a Paintbox or ECU (electronic control unit), that allows a video engineer or DIT remotely control the cameras colorimetry while viewing on external displays or scopes.

gary adcock
Studio37

Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, IL

https://blogs.creativecow.net/24640

[Gary Adcock]

[Rhonda Norman] “* A little bio on the native Texas artist Gary Adcock:”

Why post this a 2 year old forum, the matter was discussed at length previously.

This Gary Adcock is NOT that Gary Adcock.

I cannot even draw a straight line.

gary adcock
Studio37

Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, IL

https://blogs.creativecow.net/24640

[Gary Adcock]

[Fredrik Harreschou] “The best would be if there was an industry standard set by a committee. “

I cannot disagree enough with that statement.
Committees have given us the wonderful world of MPEG/ HDV/ MXF/AVCHD where any and a bazillion variations to work with, rather than defining ONE.

IMHO committees tend to placate the masses rather than define structure to last for eternity

The are any number of existing structures for archive and delivery.

Today
DPX can do a lot of things, however OpenEXR or the Academy IFF proposals offer future proofing with far more robust metadata controls and maintenance. I don’t understand why Adobe does not do more with their DNG format.

gary adcock
Studio37

Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, IL

https://blogs.creativecow.net/24640

[Gary Adcock]

[Fredrik Harreschou] “Actually, RED has patented in-camera raw compression (Redcode). So unless Arri wants to license Redcode to use in their products, they will have to do uncompressed raw.”

Arri has always regarded ArriRaw as an uncompressed capture- this is more because of it being a direct data capture as opposed to being a signal stream over T-link.

for the record.
The ArriRaw codec released to the public 3-years(?) before Red Digital was a camera company, at the time ArriRaw was released the only way to capture was as an uncompressed signal.

gary adcock
Studio37

Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, IL

https://blogs.creativecow.net/24640

[Gary Adcock]

[matt shires] “However when I transcode these to Proress HQ they look juttery and don’t run smooth.”

My guess

1) you are at the wrong frame size- FCP functions best with 1080 or 720 HD formats-

2) You do not mention how you converted to which version of ProRes or what the frame rate is if you are working with.

if you are not sure
try 1920×1080 at 23.98 (or 25) and Use ProRes Standard to start your tests – the playback issue is Drive Speed and yours are not fast enough to playback at full speed.

gary adcock
Studio37

Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, IL

https://blogs.creativecow.net/24640

[Gary Adcock]

ARRIRAW bit rates for Alexa / D21 are similar to Uncompressed at 2880×1620.
The .ARI frames are 7MB each, DPX files from the same output are 19MB per frame.

ARRIRAW is recorded from the Tlink data stream over Dual Link HDSDI to specific recorders (Only Codex, Stwo and KG are supported today as far as I know)

the Color space is RGB.

ARRIRAW does not support audio, as it is captured as a sequence of frames just like DPX.

I am not sure of the compression algorithm, I will check.

gary adcock
Studio37

Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, IL

https://blogs.creativecow.net/24640

[Gary Adcock]

[Mathieu Marano] “Anybody knows if there is a Proof Setup for Photoshop that would enable the view of LogC footage in a REC709 od AdobeRGB corrected space on screen?
“

under CS5 when you go into Photoshop > View > Proof Setup > then choose CUSTOM in the next window you have the ability to use existing PSD LUTS or add your own profiles via color sync

the existing Lut’s list looks like this

gary adcock
Studio37

Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, IL

https://blogs.creativecow.net/24640

[Gary Adcock]

[fabrizio catanzano] “at aja told me that i can capture only 24 or 30 from 720p60 … i’m really confused guys …”

Aja’s desktop products have always supported varicam captures as VFR, In the recorder the “VFR” setting is to capture the default available SMPTE frame rates when embedded within the 720 or 1080 video streams. ( ie: 23.98,24, 25 and 29.97) (30.0 FPS is not supported in the KiPro)

I am sorry if people on this side of the planet forget about PAL sometimes.

To Be Correct this is from the 1.1 release docs ( KiPro is on version 2.x)

720p VFR recording support added for 720p24 (23.98), 720p25 and 720p30 (29.97).
“VFR” has been added as a selection for the 1.1 Record Type menu parameter in addition to “Normal” and
“PsF”

gary adcock
Studio37

Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, IL

https://blogs.creativecow.net/24640

[Gary Adcock]

[Peter Corbett] “Nanaflash can capture 25P (but only audio via the unbalanced input) from the tape-based Varicam. Ki Pro Mini can’t, but I’m hoping this will change.”

The KiPro Mini is not yet shipping so you cannot say what it does or does not do.

I have captured 25p with embedded audio using the 720p 60 VFR setting on the shipping version of the KiPro without issue, and I would assume it would follow the same protocols so it should be the same on the mini when it ships.

gary adcock
Studio37

Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, IL

https://blogs.creativecow.net/24640