Gary Adcock
Forum Replies Created
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[Steve] “I need to lay off a 720p master to D5 using drop frame code. FCP will not allow me to switch a 59.94 720p timeline from NDF to DF”
maybe ‘cuase the 59.94p is DF
60p would be NDF…( and yes there is a much more complex answer)
gary adcock
Studio37
HD and Film Consultation -
[Steve] “I need to lay off a 720p master to D5 using drop frame code. FCP will not allow me to switch a 59.94 720p timeline from NDF to DF”
maybe ‘cuase the 59.94p is DF
60p would be NDF…( and yes there is a much more complex answer)
gary adcock
Studio37
HD and Film Consultation -
Take this to the Kona forum as there is already a thread on this
https://www.creativecow.net/forum/read_post.php?postid=111812501282217&forumid=98welcome to FCP5 and QT7. ( upgrade to 7.01 too)
Steve Swersky has posted his work around for the audio / video offsets that everyone is finding in the 23.98 1080psf capture (so far I have heard of this issue with everyones hardware)
It is not an issue in 720p and not so far at 1080 60i only in the 1080 23.98 timelines.
Could be the reason apple left that format out of the Manuals…
gary adcock
Studio37
HD and Film Consultation
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[Tim Maloney] ” have a BMD card which works well. One thing I really want though is SD downconvert of 72060P sequences @25fps.Does Kona 2 give me this downconvert live?”
yes it does.
it does not do is cross convert from 720-1080 however.gary adcock
Studio37
HD and Film Consultation -
[Joe Murray] “but I think the Kona2 is already being used on Linux systems (RaveHD???) and since PCI is a hardware standard, it would probably just require a software update from AJA/Apple.”
That would be a correct, at IBC last year AJA was showing their xenia solution in the Microsoft booth.
I assume that AJA {and Apple} will be first out of the box on the solution side due to the way they work together on development now.and
my 2.5 & 2.7 machines are running tiger and studio on dead on with audio sync. studio has quite a few issues however.gary adcock
Studio37
HD and Film Consultation -
[Rob Tobin] “With our current set-up FCP-HD, Kona2, G5, X-serve, SD works fine with standard house sync but when we use it for 1080i projects with a sony HDCAM deck we have to change the Kona pannel to free run and change the deck to internal sync to avoid frame glitches.
The project is a standard 29,97 1080i which shouldn’t require tri-sync. Anyone have similar issues?”But the board is looking for it and when you send SD sync into a system capturing HD yes there can be issues,
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[keicol] “Final Cut Pro Studio, Tiger, 2.7gh, Xserve raid. inconsistant audio ahead of video from 1 to 3 or 4 frames. Be forewarne”
This is not very helpfull,
SO is the audio issue on capture, if so what formats or decks? SD or HD? are the files out of sync when played in the QT player?As has been seen here there are any number of issues when you move to a new operating system,
NEVER do it mid-job.gary adcock
Studio37
HD and Film Consultation -
Walter
I wanted to add the the xml export from FCP5 is not working with many apps either. I cannot get the FCP5 XML to import into
silicon color at all, it keeps looking for a tape that is not in the code or in the project.SO Kids— do not try this at home or at the very least not on your working machine.
gary adcock
Studio37
HD and Film Consultation -
[walter biscardi] “In this forum, it’s an easy answer Adam, Kona 2.”
I agree, in The DL forum you will get a very different answer. AJA is pretty much the standard in hardware mini converters, thats how I got turned on to them – I got them with my first Voodoo card, and have been hooked on the company ever since.
AJA’s service is second to none, and their tech support is the best I have worked with without paying $500,000.00 for a systemAJA is on the cutting edge in the Apple / FCP world due to the allegiance with apple. Apple thought the AJA products were good enough to be the ONLY hardware boards shown at this past NAB. They make the video conversion products that modify the video you watch everyday on the networks and cable. K2 boards ( driven by FCP) have been used in LIve Video feeds for the World Series and the Super Bowl.
gary adcock
Studio37
HD and Film Consultation -
[Rodrigo Lizana] “But as I understand, and specially for film out, DVCPRO HD is only an offline codec, and you should online your project in uncompressed 1920×1080 at 24 fps. It would be very nice to hear from a Panasonic guy (Steve mate you there ?) what’s is the best workflow to work with Varicam material for film out using FCP HD or FCP 5 and both the 130DC and the 1200A. “
Rodrigo, In FCP5 Apple actually recommends NOT to use 1080 24psf as a film out format (and as a technical aside it was left out of the FCP 5 manual as an possible HD broadcast format) and Specifically recommends the 720p24 format for filmout work from FCP 5 / FCP studio.
A couple of reasons NOT to use 1080 24psf for filmouts –720p is a truly progressive format, while the 1080psf format is actually 2 progressive frames that melded back into a single frame (called Progressive Segmented Frames), and in content with high motion that can result with an “interlaced look” even though the content is progressive.
Secondly deliver on HDCAM Tape (NOT SR) which has a 3:1:1 colorspace, can degrade your project in a manner that could effect your project outcome. This is not an issue when delivering via D5 or HDcamSR
Saying all of this I want to point out that these are moot if we are talking about delivering / mastering the Varicam footage on HDCAM SR Tape decks with it’s larger color space and true progressive (instead of PSF) frames. But since there are very few of these decks in the US outside of hollywood most people that talk about DL HD are not actually working on
a 4:4:4 capable SR series deckgary adcock
Studio37
HD and Film Consultation