Gary Adcock
Forum Replies Created
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[raju] “Why not capture the footage from the camera into the internal hard disk, and then copy the footage from the internal hard disk onto the firewire drive.”
What happens when the systems needs to do something then? your capture fails or at the very least drops frames. You should never capture to the same drive your systems is on. I repeat never.
Capturing to your system’s start up drive is like juggling plates- sooner or later its going to crash.gary
gary adcock
Studio37
HD and Film Consultation -
[Andy Edwards] “I checked my trash can after running the software update and install. Inisde the trash were all the packed updates in a folder call apple software updates. Myabe you can burn them to cd and take them to your other machine that is not online.”
or you can the update menu and select “Install and Keep Package”
then it keeps the installer in the Packages folder
gary adcock
Studio37
HD and Film Consultation -
[Bret Williams] “There’s no reason not to. You’re talking about 2 completely different things… color correction and color safe. Your shot might look like crap and not match other shots. That would require color correction. All your shots might match up just fine, but they were over exposed and the brightness needs to be brought down. That would require a broadcast safe filter.
I really don’t understand all the confusion.”there is a lot more to being “broadcast safe” than just your explanation. Chroma and luma can both affect the transmission and reception of your video signal. There are also varying levels of broadcast safe depending on where you work runs on PBS or HBO.
White levels that are too high cause that annoying audio buzz when graphics pop on screen during that late night cable show. Chroma levels cause a different issue.
There is never one answer here, the rules were set in place for video transmission, so if you are not sending your work to a satellite then most of this discussion is moot. HOWEVER issues such as this do affect DVD output so beware. A little knowledge is a very dangerous thing.
gary
gary adcock
Studio37
HD and Film Consultation -
[massachi] “Where can I learn more about the difference between “FPS” and “PSF”. If not too much to ask, can you explain it further here? I’m confused.”
FPS is Frames Per Second – or the number of frames that you will need to process for each second of content
PSF is Progressive Segmented Fields – The SONY process for creating 24 frame content within a system meant to handle Interlaced fields instead of progressive frames. The sony process is to capture 2 frames offset ( or 48 frames a second) in time and “re-bundle’ them back into a single progressive frame. This is somewhat akin to what the Nattress filters do to achieve a film look — but the timing of the 2 fields ( in HDCAM) are closer together than the process when done in the interlaced world.
gary adcock
Studio37
HD and Film Consultation -
[walter biscardi] “I have not tried working with any uncompressed footage on my laptop other than to run some tests a while back. DV, DVCAM, DVCPro HD and HDV can all easily be worked with in your Powerbook. You’ll need to do a lot more rendering when working with the laptop, but FCP 5 does run pretty well on the machine.”
I have done UC 10bit on my laptop, a lot of it in fact. nearly 150 hours of content has been cut on my laptop in 8 and 10bit Standard Def.. I use both Lacie and G-Raid’s for my storage with out any issues. I would on location with a AJA Io’s (LA or LD depending). The same drive set up can also handle 720p HD footage easily.
gary adcock
Studio37
HD and Film Consultation -
[Dale McCready] “Unfortuanately under the tools menu is a plugin to help process the file into 24FPS from 25 and not the other way around. This was what I used in my initial conversion.”
24 > 25fps is in Cinema Tools. build you project as a 24p then use the conform functions in CT to convert it back to 25fps. I know this is A**backwards for everyone in the PAL universe. I have been doing the 24-25 nad back conversions for years and have never liked them, but I have found them to work when you plan the process accordingly.
Note: the audio is always trashed in this process so handle it as a separate item!
gary adcock
Studio37
HD and Film Consultation -
[ewin] ” I know the Kona 2 should be able to lay back to tape with the frames flagged at 23.98 but I haven’t gotten it to work yet. Also, I don’t have two AJ1200 decks so I must go the Kona 2 route. Anyone else tried this or have advice on how to make it work?”
you need to turn on the User Bits setting on the deck. this is off by default with most of the 1200a decks.
If you play out a 24p timeline out of the Kona 2 it will correctly flag the content as 24 even though it is playing back at 59.94. But you need to tell the deck to read the timing.
gary adcock
Studio37
HD and Film Consultation -
[Dale McCready] “‘m not entirely up with every nook and cranny of FCP but had trouble getting it to output at 25FPS from 24.”
under the tools menu there is a process for conforming 24-25fps frame rates inside of FCP. then you will not be getting the RGB -YUV con version issues with Quicktime trashing your color and gamma settings.
gary adcock
Studio37
HD and Film Consultation -
[walter biscardi] “I’ll second Mark on the Kona 2. It should actually be able to capture true 25fps straight down HD-SDI as it support all the frame rates natively. I does keep the metadata and from what I’m told, you can capture at pretty much any of the Varicam frames rates directly through the Kona 2.”
My vote also., but note that this will require a separate capture pass for your audio, which will also be slowed down by this method.
gary adcock
Studio37
HD and Film Consultation -
[walter biscardi] ” it’s built into FCP. I’m using a combination of the Broadcast Safe, Levels and Proc Amp filters for a broadcast HD series right now. They’re excellent for the process.”
That would be my vote also, while the hardware ones tend to be a bit pricey like any scope can be, the one in FCP works as promised.
gary adcock
Studio37
HD and Film Consultation