Gary Adcock
Forum Replies Created
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Have you called AJA tech support in Calif?
gary adcock
Studio37
HD and Film Consultation -
[tonymazz] “The problem I’m having with all of this is grasping the technical aspect of why FCP allows you to import 24p but not export 24p. I don’t really need the full progressive video lesson, I understand pulldowns and framerate, ect. Just wondering what Apple’s roadblock is here?”
24 frame video on tape does not exist in the Standard Def world. 29.97 is the time base for all NTSC and all footage needs to playback at that time base, hence the need for adding “Pulldown” or Telecine. FCP does allow you to export footage at 24p but as Walter said it requires more than what you have to accomplish. Currently the only 24 frame that can be captured to tape at 24p would be on a Panasonic D5 Deck. (it is also possible on Sony HDCAM SR also)
gary adcock
Studio37
HD and Film Consultation -
[GlobeRider] “s there any benefit in capturing to 10bit uncompressed from DVCProHD original tapes? The quality isnt there to begin with so I’m not gaining anything right?”
Answered your own question there. but maybe think 8bit UC – 8 bit is all that is on the tape – it will at least help in the color correction phase.
[GlobeRider] “Is there any benefit in using a 10bit uncompressed sequence for footage that was captured as DVCProHD? I assume the only advantage would be to preserve the integrity of graphics files and/or footage that has any filters applied. (Its not a graphics intense program but I do put the ‘broadcast safe’ filter over the entire nested timeline as a last step in the process)”
It does not really sound like it is necessary to work in UC in your workflow- without heavy compositing or large amounts of graphics the DVCPROHD codec really does hold up well for editing this type of content — ‘ask walter!’
Thats not to say that many of the fixes you may need to do at the final finish stages will most certainly hold together better when you are working with out having to re-compress, a compressed file.
gary adcock
Studio37
HD and Film Consultation -
[Dale McCready] “ou should be able to set it up under any light balanced to the camera setting, although I found that after setting up the chart on Tungsten, I got better results matching two cameras under daylight sources.”
Dale is correct here Joe,
the camera does respond better when using daylight balanced light sources to setup your camera (from my Varicamp notes)gary adcock
Studio37
HD and Film Consultation -
[Walter Biscardi] “Heck for the price of a CineWave with an HD BOB, I could set up 3 Kona 2 workstations. Technology changes, the Kona line will to”
I am going to jump in on this also,
I set up my first HD suite using a Kona HD Card in 2002, the card at that time carried a retail price of something like $24,999.00. The 1.25 T of storage (160W-SCSI) ran something like $85K. The final cost of the complete suite was about $225,000 and I did not yet even own an HD Tape Deck.Fast forward to today. I carry that same set up now in 3 cases ( G5, Kona2 Card,K-box, 2T SCSI storage, Cinema Display) – in short everything but an HD deck for less than $25,000.00!
I was offered discounted pricing to purchase the new board for over 1 year. AJA even allowed me to keep my old HD board if I wanted. They did everything they could to make sure that as a previous customer, I stayed on as a return customer when they migrated their hardware.gary adcock
Studio37
HD and Film Consultation -
[chris] “”No one should be shooting 24.0 as a frame rate for video. It really really screws up the audio in post.”
Do you mean 24p or 24pa? And does “video” include output to DVD? And how does it screw up audio in post? This really concerns me.”Neither — I meant 24.0 as a frame rate for video editing. Most 24 frame video content is edited at 23.98 (called 24p)
24p and 24pA BOTH have a frame rate of 23.98 ( or 23.976 depending where you look.) The only difference between these 2 is the cadence of the added frames {3:2 or 2:3:3:2) to reach the NTSC frame rate of 29.97.
How am I saying anything different that Graeme? If you are not familiar with the way 24 frame content is created or handled don’t ask a video guy ( sorry Graeme) ask a film guy- if you work at a PBS station ask one of the engineers -they will be able to explain the whole film to video process.
gary adcock
Studio37
HD and Film Consultation -
[Neil Harris] “i’ve managed to log a clip but so far my machine crashes when i try to batch capture – does anyone have experience of this and know the correct video settings for using this bit of kit??”
the FRC was not built for this and I have never successfully captured from one it cannot access the info on the HD the same way that it needs to from tape– the crash is due to no pre / post roll available.
try a crash capture first but since you must have the ability to capture HDSDI use your capture card direct from the camera or deck and convert it to DVCPROHD and use the software FRC to convert your footage.
gary adcock
Studio37
HD and Film Consultation -
[Shane Ross] “24P runs at 29.97fps. It has a cadence that makes it look more film-like, but it runs at the normal NTSC tape rate. It is 24PA that records 23.98 onto a tape at 29.97 using a 3:2 pulldown.”
Just a couple of clarifications:
24p footage does not run at 29.97, it runs at 23.98 (23.976)FPS –it is recorded to tape in NTSC at 29.97FPS- traditionally using the 3:2 pulldown method of inserting 2 dupe frames then 3 dupe frames to fill in the timing difference.
24p footage is 23.98 fps using the standard 3:2 pulldown cadence.
24pA footage is also 23.98 fps and uses the 2:3:3:2 cadence for the pulldown insertion so that there is not a mixed frame when the rev telecine is done to remove all the frames that have been added.
No one should be shooting 24.0 as a frame rate for video. It really really screws up the audio in post.[Shane Ross] “with 24PA, the footage looks jittery when played on the tape. So sure, you can work with it and output it to tape, but that tape is useless to anyone OTHER than someone who can capture it and perform a reverse telecine to work with it. It will not work as a Master tape for any viewable purpose: Broadcast TV, projected video from tape, a master tape for dubbing purposes. So, in effect, it is useless as a tape master, and should be avoided.”
This is rather misleading- all 24 frame content looks this way when played back improperly because people are not used to seeing 24 frame content on anything less than a movie screen, 24pA footage is the easiest to handle in 24 fps in the FW workflow but does NOT work well when mixing different types or kinds of footage. Most telecine functions are not using anything but the very old and standard 3:2 pulldown, and keeping with it gives you more flexibility in the long run for your
delivery, just because there are so many different solutions that handle your footage that way.gary adcock
Studio37
HD and Film Consultation -
[Tim] “Am I going to need a third party plug-in or something to take advantage of the true 24p frame rate?”
Yes, since 24p is not supported in the HDV codec.
[Tim] “does the input process used make a difference? I am planning on using the composite or component out of the HD100 into my Kbox.”
Yes it does
and this is a fine solution – but you will need a HD10a converter to get the component signal from the camera to the Kboxgary adcock
Studio37
HD and Film Consultation -
[Tim] “Am I going to need a third party plug-in or something to take advantage of the true 24p frame rate?”
Yes, since 24p is not supported in the HDV codec.
[Tim] “does the input process used make a difference? I am planning on using the composite or component out of the HD100 into my Kbox.”
Yes it does
and this is a fine solution – but you will need a HD10a converter to get the component signal from the camera to the Kboxgary adcock
Studio37
HD and Film Consultation