Gary Adcock
Forum Replies Created
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[Itamar Kool] “The only thing that matters is that the footage is shot at 25fps and that the capture mode is also 25 fps. The Kona then knows ot has to throw away the duplicate frames. I’m not sure about the AJ 1200. I don’t think you have to choose 50 or 60 Hz. That has no relevance as far as I know. The playback speed remains 59.94 fps.”
No, it should be set to 60. and it should be set on 60 Hz in the camera for the proper PAL (25fps) Config.
This process is the same for shooting offspeed footage and having it properly capture in FCP when using a Kona card.
(meaning faster or slower depending on how it was shot)itamar – it would have been nice to see you at IBC.
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA -
[Gabe Hatfield] “We are capturing Panasonic Varicam material using the HD-SDI embedded audio. We can hear audio when previewing, and see levels popping when we are playing tape, but the clip will digitize with no audio on the audio tracks. None of our settings have changed, but suddenly we can’t caputre audio.”
Check also that you did not changes the settings on the deck when you did a test with DV.
Reseting the parameters in the Easy Set up DO NOT override the Kona Control Panel.Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA -
[Bob Roberts] “What does PsF mean in the context of “1080 23.98 PsF”?”
The Sony Professional HD format (HDCAM) captures what is called a “progressive segmented frame” which is a progressive image that is electronically “separated” or “split” into 2 “fields” which allows Sony to mimic an interlaced image, the basis of their HD format (1080i), while still giving digital film makers the ability to take that HD image back to 24 film frames without much difficulty.
The capture is truly progressive -contrary to many opinions- and the image is normally played back on most displays at 48i.Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA -
[Moztu] “We are working on a 2x2GB G5 with 4,5GB of Ram. Mac OS 10.4.2 and FCP 5.0.2. 2 FW800 drives chained, and get huge drops playing a multiclip sequence (DVPal) that has a max of 2 video and 3 audios for longer than a minute.”
Check a couple of things.
Shut down all other apps (especially itunes)
eject / unmount any disks or drives not being used.
Make sure that your audio is 48K , if not that could be a major culprit, as converting audio on the fly can make the video stutter, If you are working on content that has been “subcliped” and has a large number of cuts – the reading of the file from different points may not be fast enough on FW to handle the jumps.Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA -
Please stop screaming. The use of all caps in a forum such as this is considered to be rude.
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA -
[Atl Cine] “WHAT ABOUT PEOPLE THAT BOUGHT THEIR CAMERAS WITHIN THE PAST SIX MONTHS. SHOULD THEY NOT BE PROTECTED BY OFFEERING SOME SORT OF UPGRADE PATH?”
Why?
I do not get hardware upgrade paths for Avid or Quantel
Nor odes GM give upgrade paths, why is this different?
Is the H model so superior that the F model is immediately obsolete?And while Panny does not offer an upgrade path, I do know that many people took advantage of the 9″ display discount offer that ended about 2 months ago.
Does that not count?Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA -
[drazen] ” I wonder whether anyone knows exactly when will it be actually ready for purchasing. I am from Europe and when I asked my local dealer when will it have it, he replied no sooner than november, despite KONA stating available now. “
Drazen: that delay is due to EU limitations and getting enough product to fulfill orders, I was told that the LH boards started shipping Monday Sept 12th in the US. Any issue with availability at this point would be about demand, which I understand was greater than expected during IBC so maybe 45 days out for delivery on a brand new product is not that bad.
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL -
[KEVIN Lang] “Wouldnt it be nice to be able to capture the footage in the field as it is being shot keeping the tape only as a back up or if the techno geeks must recapture later at full res. This would save alot of time digitizing and add alot more creativity to the shoot as this is something we have done with DV for years!”
While I have contributed my own discordant rants here, Numerous solutions have been offered
The answer is this can be done now, maybe not the way that Blayne wants, and just because you can do it in DV, Kevin, does not mean it is a piece of cake to do the very same thing in HD.
Using a Kona 2 setup, renting a 1200a deck, or using the now defunct CineRam product, that could perform this function on battery power, are all existing solutions that work now.I previously mentioned the cost of a standalone HDSDI-FW bridge would just be prohibitive. There are just not enough people to buy them to make it profitable – remember that the cost ratio reduces when more people buy. This is a very limited use device possible less than 2K total units. Who pays for the R&D then, or the manufacturing,packaging and marketing?
The unit that handles the HDV consumer compression to HDSDI is over $6K.
A pro-device to handle would easily cost 3x that price. As a pro device it would have to handle both 720 and 1080, but what about Frame Rates? Or are you willing to go on set and not view the footage at it’s proper frame rate?
How is it going to handle 25fps content? (or do we continue to ignore 3/4 of the planets video frame rate). How is it going to work with Windows based editing systems that do not support the DVCPROHD codec.So, as you already know, there are more than a few problems to solve.
From IBC
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL -
[Clay Coleman] “What I didn’t realize is that the software frame rate conversion only supports 23,98, 29,97 and 59,94. I had assumed that it worked the same as the hardware method. (buzzz) Wrong answer.”
correct it only natively supports 24, 30 and 60fps rates, these are the only frame rates accessible over Firewire. thatrs why they made the hardware FRC.[Clay Coleman] “Still, I don’t grasp why that is the case. Especially since the technology exists within the hardware conversion to accommodate 1080i50 and from there to 720p.” NOT inside the camera, and that is what is controlling this issue, at this time.
[Clay Coleman] “Why did Panasonic/Apple make it only work for NTSC users?” It is not an apple problem ( beyond the software FRC which was written by apple) This was a decision at Panasonic and my guess it was based on the lack of interest in PAL countries for HD of any type. Even this year at IBC, less than 1/2 of all the people I talked to planned on moving to HD in the next 2 years. Why build a product when it will not sell.
Secondly it was built to mimic film,and film is a 24 frame medium not 25.From IBC
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL -
[Blayne Gorum] “A pet peeve I’ve had ever since my local rep told me about the 1200A’s firewire ability is still bothering me today. Why isn’t there a standalone converter that takes HD-SDI and turns it into a firewire signal that keeps the Varicam flags intact?”
as a standalone box no. The Kona 2 does this and you can choose your compression schema, whether it is 10bit UC, DVCProHD or even down converted dv-25 on the fly, and it sees all of the RP188 flagged frames also.
[Blayne Gorum] “I have a Varicam as well as the HD130 deck. Why can’t I join the party and use firewire? Hello AJA? Miranda? Anybody home? If they can put it in the HVX200 it can go in a standalone device.”welcome to issues using a discontinued product, (the 130) or the business of creating a product with a very limited market- HDSDI -FW, while most of the people that want that technology grab the the 1200, you want to retrofit a deck with a converter that would most likely cost as much as a NEW DECK. ( based on the $6K+ price for miranda’s HDV to SDI converter)
From IBC
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL