Gary Adcock
Forum Replies Created
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[Ramona Howard] “I’m bitting my tongue on this one……and can only say without 24p it won’t fly…..except out the window.”
yeah,
all I can think of is the time I put and Iomega Jaz disk into a drive and every disk inserted into the drive later was destroyed.
Does anyone you know have a good feeling about Iomega disk storage for a camera?From IBC
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL -
[GForget] “We have been using the KONA2 720p 59.54 DVCPro HD preset in FCP, and we have noticed that we are experiencing an audio sync problem. “
Contact Tech support. It is a QT issue. You will need to update your driver.
From IBC
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL -
[Chris Tomberlin] “Are there any issues with gamma differences between FCP 5 and After Effects or differences in gamma between what is displayed on the NTSC monitor and what is on the desktop or what is rendered?”
FCP works in YUV and AE works in RGB. So the colorspace if different.
Use the AJA 10bit RGB codec to transcoded your footage between AE and FCP for the best results.From IBC
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL -
[Ron] “As far as Targa clips, what I plan on doing while I have the card in my G5, is transcode it all to the Apple 10bit codec.”
IF your talking from Cinewave use the AJA 2vuy codec and you will be able to use the older CInewave files – but it will reduce some RT functionality due to the transcode.
From IBC
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL -
[Bob Zelin] “I would LOVE to know what AJA or anyone at IBC thought of these LCD monitors – especially compared to pro CRT monitors, and the conventional recommended Apple Cinema, Sony SDM, and Dell 2405’s that so many of use use with the Kona 2. “
Hey Bob,
I am very impressed with the eCinema Display, Martin has done a really terrific job on it. In addition to the Aja Booth they were also on display at DaVinci and in conjunction with a couple of the telecine products. Along with the standard graticule, there is also multiple indicators for various aspect ratio images (academy etc.) and a full range of monitor controls on the controller.Looking forward to getting back from IBC and doing some full blown testing on it.
From IBC
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL -
[Joseph Farris] “Yes call Fletcher Chicago, 312-932-2700. If I remember correctly they had a few in their show room when I was there not to long ago.”
Correct
Fletcher stocks both of the Goodman Guides one for the Varicam and one for the SDX900.From IBC
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL -
[Jerry Witt] “First, is it possible to playback HD footage at 24 fps without hardware assistance? (No Kona or Blackmagic card, yet.) Is there a codec that will support real-time playback to my cinema display without a card? “
Yes and No, you need a card to get the video into your machine, 1080|24 psf compressed to the DVCPROHD codec will playback for cutting without a problem on a properly configured machine.
Note your cinema display is Not color accurate.
[Jerry Witt] “Does the DVCProHD codec support 24P at 1080 WITHOUT wrapping it inside a 1080i signal?”
That is not possible because the format is PSF ( progressive segmented frame)only unless you are in 4:4:4 Dual Link. This format plays back at 48i but contrary to Tony’s comments (and some of mine previously) PSF is captured in the camera as Progressive content and then segmented for playout from tape. So no the format is always played back as interlace unless you are working to a Sony 24p monitor.From IBC
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL -
[tony salgado] “n this case no I am not using the older Kona HD card.
What I did was take a dvcprohd sequence created on a G5 xferred the files to a G4 where I dropped the dvcproHD sequence onto a standard def 8 bit BM 2vuy 23.98 for downconversion.Sorry for my assumption then, but the K2 can function very erratically when using the BMD codecs in on your K2 machine. This is not recommended. hence my response
I do not disagree about the need for an internal down conversion for some however, but I have a router so I am comfortable just doing a recapture.
From IBC
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL -
[matthew Romanis] “I was trying to understand if the Kona 2 card was somehow different to the BM card in this slow down process, and it appears that it is not (though the down conversion seems to win).”
That was part of my confusion matthew, this is a film concept and it has nothing to do with the card. It is just if you are trying to compress time you need to capture more of it allow it to pass by faster.
And yes IMHO doing the down convert in hardware is always better.
info on the Varicamps is available at https://www.hdexpo.net
From IBC
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL -
[tony salgado] “Take dvcpro HD sequence and paste into into a standard def 525i 8 bit 23.98 uncompressed sequence. I am using the BM 8 bit 2vuy codec. FCP does the rescaling. I let the Kona and Kona 2 do the 3:2 pulldown for output to tape.”
It sounds as if Tony is using the older Kona HD board – the Kona 2 does both the downconvert and the pulldown addition on the fly without the need for a render and it does not use the BMD codecs, AJA is writing their own software now.
it is certainly faster when you do it in hardware and the K2 uses the same downconverter in hardware as the AJA mini converters.this is a one step process on the Kona 2, and Kona LH.
From IBC
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL