Gary Adcock
Forum Replies Created
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[Barry Ford] “The records were done with AJA VTR Exchange which were set to HDV 720p30 to save space with 2 channels of 16 bit 48 kHz audio.
“As far as I know you cannot record any LGOP codecs thru VTR Exchange.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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Correct Todd,
the current builds of the Alexa software do not allow for in-camera playback from SxS, that is scheduled for the next software release, as is ArriRaw recording capabilities.
External recorders are not limited to the cameras capabilities, so there would not be the same issues there.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[Steve Price] “‘ve been looking at my KONA LHe settings on the control panel and I see my native format is set to 525i29.97. “
Steve,
On a new setup, the Kona cards default to the first setting in the list, and since this is a US company the very first settings were for NTSC Standard def TV. This is the reason for the setting, as others have mentioned you will need to use a differing setup for PAL countries.
Note that this will happen everytime you re-install drivers ( if you do not do any NTSC you can choose NOT to bypass installing the NTSC settings
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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Hey Fred,
Jessica is in the LA office, not the NJ location, but anyone in the service dept should be able to help.Other places to contact would depend on where you are located in the world, but Arri or CSC locations would be the best place to start.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[Kelly Kowalski] “60p is kind of pointless in that I am not really going to get “better quality” as, I cannot output to 60p, “
Kelly
it is not a matter of output, more often than not the traditional 60p workflows were designed to offer the user slo-mo at acquisition allowing for better quality images.Delivery Output of the 1080 60p is almost unheard of. I work at this level all the time- I have delivered 1080 60p content to one client only- and only when there was a specific reason to do so.
Normally the content is captured at a higher frame rate then played back at 24fps to achieve a slow motion effect.
Shooting and delivery of 1080 60p over the web is a waste IMHO.
I always recommend shooting 24/25 for web video’s- less frames mean higher quality images or smaller file sizes when using the same compression bit rate.
Think about it like this…
at 60 fps there is 2.5X as much content to compress and deliver than there is at 24fps.
which would you prefer to download?gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[Ian Liuzzi-Fedun] “but can you comment on the fact that most bars are generated by some still store of sorts and not by the camera circuitry today? If you are recording onboard material (on a camcorder) how accurately can one trust the bars that would be recorded at the head of a tape?”
People you are missing the point.
You have to calibrate the hardware on a known standard- ie: bars – So you need to make sure that each device is set at a known baseline and what that device is capable of. This is right up there with choosing a frame rate to shoot at. You have to be working to an established baseline to start. Bars were initially used so that an engineer could set in the back room and match all the cameras to each other for live broadcast under controlled studio conditions.
You are not working in that manner, so for you shooting bars and tone does NOT account for Lighting or other issues that may come up, that is what the ChromaDuMonde charts like those from DSC Labs are used for, to simplify the color correction process.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[Mark Suszko] “Thing is, these days, if somebody gives you a program with bars on the front, sometimes it has no relationship to the actual video for levels or hue, etc.”
No dispute there Mark, As I said the bars were designed to calibrate devices to each other, to establish a baseline. Adding a color chart or having a calibrated guide on your Slate is the solution to your issue, then there is a calibrated source in your shot that can be used for more standardized color controls in your shot.
” Where do you find a reference standard in that brave new world? Back in misty days or yore, bars were generated by an actual camera circuit and not just a playback of a jpeg from flash memory.”
it is my understanding that output of bars has been “jpeg playback” since digibeta came to the market, but the reference you speak of is attained using something like DSC Labs ChromaDuMonde chart https://dsclabs.com/chromadumonde1.htm to achieve accurate image calibrations.
https://www.youtube.com/watch?v=SxmyZPKTTwI&feature=player_embedded
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[Mark Suszko] “Color bars on tape I think meant more in the analog days than they do now. In today’s cameras, the bars are generated from a stored jpeg file in the camera, far as I can tell”
Thats the way all color bars work, they are designed to be a calibration so that each device can be tuned to an accepted standard. This is no different in digital- they are used the same way.
Without calibration standards there is no way to define or determine image “legality” for broadcast, you may not use it, but I can assure you that every TV and Cable station does use them.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[Rafael Amador] “There are no 1080p60 Sequence Presets on FC, because that’s not a real HD standard, “
That is incorrect and misleading.
My SMPTE Guide lists 1080 50/60P under the 274M SMPTE/ EBU standard that the basis for all broadcast engineering, it is the basis of the 3G HDSDI standard and is required to deliver “frame-packed” full rez content to both eyes for 3D.
The main reason there are not any 1080 60p pre-sets in FCP is due to the requirements for 3rd party hardware video-out hardware to handle the signal correctly. Without that type hardware FCP will default to 30p / 60i.
In traditional media a 1080p60 stream is captured over a dual link HDSDI connection- it is NOT passable / transferable over FW from this camera.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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Please check to make sure that you are working in PsF and NOT P on those displays that you are having issues with. CRT displays cannot show a “P” signal any more than they can show 24.0 fps.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640