Gary Adcock
Forum Replies Created
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[Michael Garber] ” I would never do a broadcast output with the Io because of the frame lag.”
you can adjust the lag.
if you are working in HDV what settings are you using?
I use the 1080i60 8bit easy set up and I do not have any issue with conforming when I do edit to tape.I render the project and play out to tape.
From IBC
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL -
[Paul] “I’m not running those drives simultaneously. After further testing I can’t even get my 320 array to capture standard def through my IO”
4ULD cards like the 4 slot.
and you did not say if you had another card in the machine.
From IBC
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL -
[Walter Biscardi] “I wouldn’t go XRAID at all, waste of money. Go with Medea and it’s a lot less money to get the throughput necessary for 4:4:4 Dual Link. We’re about to set up a Dual Link system for a film transfer facility here in Atlanta. I’ll try to remember to let you know how we set up the RAID for it.”
Actually at 1080p24 can be done on a single fibre array the data rate peaks at about 200mgs a second.
Huge offers the 4210 array that does 4g fibre and can capture / playback at 320mgs a second.the buggy celerity driver however is needed to get 4g.
From IBC
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL -
[JeremyG] “oes that mean render out of AE to 10 bit, then have FCP transcode the footage into whatever codec you are editing in (such as 8 bit), or are you suggesting that we capture/edit in FCP (and of course do subsequent renders from AE) with the AJA 10 bit codec?”
I am not transcoding anything, If I know I will have a large amount of AE footage I capture everything to the 10bit RGB codec thats what it is for ( works for other animations also).
IT has already been mentioned that FCP4.5 did not use the proper colorspace conversions into the smpte 709 HD colorspace and it seems that while QT native files can handle the conversion correctly into or out of the RGB 10bit -YUV 10bit needed by Final Cut. FCP does not see that data correctly and often fails to convert the content’s colors correctly.
From IBC
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL -
[Walter Biscardi] “Definitely a drive issue or SCSI card issue and nothing to do with the Kona 2. The Kona 2 is simply passing the video through to the drives, the drives are failing and it sounds like a throughput issue.”
I concur
How are you running a 160 and a 320 dual array on a single card?
my guess is that you are getting a scsi conflict –
if you are using 2 cards they have different drivers – big problem.
if you are using the same card for both machines the 320 will have problems with a slower Scsi device attached to the bus.Mac’s do not like having 2 kinds of storage connections in them at the same time – I have never been able to get fibre and SCSI to work on the same machine for instance.
From IBC
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL -
[Tom Wolsky] “The camera actually records HDV internally. It will output uncompressed HD while shooting so you can record to an HD deck, at least that’s how I read it.”
The Canon imager is before the Analog HD out so it is a decompressed image, just like it is on both the Sony and JVC product lines.\
Component out will still be a better quality that native the HDV and all of the frames are treated as I frames.From IBC
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL -
[nick] “I am considering taking on a documentary to be done on FCP, with a variety of sources (HDCAM, HDV, 3/4″, Digibeta) that will also utilize the XSAN share and AJA capture card.”
Xsan is not HD friendly as of yet, especially if you are talking about working in uncompressed.
An 8bit 1080i60 project will take the entire bandwidth of the san with a single user.it works fine with 1080 DVCPROHD compression however
From IBC
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL -
[Ben Hall] “Any opinions? I know that the HDlink’s new features were just announced. Prior to this has anyone had the luxuary of using both cards? Any opinions?”
Uh,
the HDlink is for monitoring sd/ hd video on a DVI display and the Kona 2 is a capture card.From IBC
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL -
[Clay Coleman] “Have you gotten anywhere with that problem (converting 720p60 caputre to 25?) I have a project shot on 720p25 and am desperate for a solution.”
[luca de luca] “I would like to know if someone have tried with fcp5 to capture with a aj-hd1200 a tape shooted at 720p25 via firewire, I haven’t found a way to let it recognize the 25fps frames, it always acquire at 59.94 and the frame rate converter doesn’t allow the 25 …”720p25 is not a native frame rate on the varicam, it cannot be extracted from the 1200a via firewire as the frame extraction is would be 720p25/50/60 ( that is 25 frames divided by 50 frame divided by the 60 frames recorded to tape).
there are only 2 ways to extract the data correctly 1) Using the Hardware FRC, or 2) a 3rd party product such as the AJA Kona 2.
the steps with the current Kona 2 and Kona LH drivers are
change your easy setup to the 720p23.98 DVCProHD Varicam
Duplicate this setting and RENAME IT < 720p25 DVCProHD>
change EVERY frame rate setting in the “Capture Settings” and “Sequence Settings” to be 25fps
Field order is set to NONE (we are working progressive)
Save the project then restart FCP
use that Easy Setup and go
From IBC
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL -
[jiri vrozina] “What percentage of Your jobs You do is for Cinema Release??
Ifinity from what I understand is for ENG work. “That is like say that HDV will never get on air, we said the same about DV also, but look at at virtually any station and see DV on the air daily.
Why does it have to be for film to be at 24?
24 is a universal format that goes to any frame rate needed in the world.From IBC
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL