Gary Adcock
Forum Replies Created
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[todd heyman] “so oliver you havent heard of this locked secondary issue? color seems to be working in every other way..
“Yes Todd,
I have seen this but usually one long continuous clip, where the secondary has not been keyframed to allow for changes to be made.If you are cutting an FCP timeline that is clip to clip, each one should be treated as a separate entity.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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Let me add my words of condolence to his other friends and family.
Chis was a great leader here and we all will miss him.
gary adcock
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Todd
if you have copies of the originals you should be able to match the images. if you are working from the H.264 files your ability to correct is limited.
take me through what you have and how it was shot?
my guess is that you are looking at original LogC footage and it looks flat and muddy.gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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Kelly,
John is correct, as transfer over FW does not support 1080 60p from this camera.
1080 60p is truly only supported in FCP via third party capture cards like those from Aja, Matrox and others. 108060p is NOT supported by FCP over a FW connection.
1080 60p, transferred as a video signal requires a dual link or 3G connection to your computer to allow FCP to see and handle it correctly, so while your camera may take a 60 fps it only outputs 60i.
Most professional tools that shoot 1080 60p ( F23, Alexa, HDC1500) only allow playback of that content at 24, 25 or 30 fps.
IF you do a search on The Cow for your camera model you will see some heated debates about the camera, capabilities and issues.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[john sharaf] “Empirical proof is that in the 10 bit 422 setting we’re getting 21 minutes per card at 23.97 and in the 4444 setting we’re getting 14 minutes. This indicates if nothing else a fatter recoding with more data and information.
“I did not rely on a data rate guess, I put the signal thru a spectrum analysis, and had my results confirmed by Arri, the camera is not yet recording or outputting a 12 bit signal, and it is my understanding that function is due when the Arriraw implementation is turned on.
I too have seen ArriRaw, it was shown during IBC openly at the Arri booth.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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It is designed for the Ipad. but I have had no issue in Safari on my laptop, Firefox is a little dicey IMHO.
[John Heagy] “The user decides on the camera index letter (A), and the R or L camera prefix preceding the serial. What’s with that… R or L?
“Stereoscopic – Right and Left.
“What’s the start of a shoot?… power up? Or is that determined by the user?”
right now that is Power UP, but the setting is due to be changed in the next software build.
“What if I format in camera A then record in camera B? Or does a format not name it anything ie NONAME”
The camera will force you to reformat the card when switching cards between cameras, this too is to be changed in a future software update.
“I’m sure I’m making this more complicated than it is.”
No I think that you are making sure all the receivers are covered before the game starts.
Ping me if you need anything else answered.
Happy Holidays!
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[Will Fleisher] “We are getting DPX files for our online.
What is the minimum drive speed required for this?”You will not be able to handle DPX frames over esata.
2K-DPX frames are 12+ MB per frame so 300+ MBps is required to handle realtime playback.gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[John Heagy] ” Is there a card name setting where one can determine how new cards are named? Ideally each time a card gets formatted it would be assigned a unique name that would pass on to the QT “Tape/Reel” name.”
Happy Holidays John,
The cards need to be formatted in camera due to the nature of the UDF format. Card naming can be done in limited manner with the current version of the camera software.
you can practice here.https://www.arridigital.com/technical/simulator
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[john sharaf] “60fps on all ProRes versions except 12 Bit 4444 which is limited to 40fps. this is the major feature of the upgrade and a few bug fixes.”
John
the 12 bit functionality is not yet enabled internally or externally as far as I know and is not due until the 3.0 software release.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[Bob Cole] “When I apply Apple ProRes422 (standard, unspecified version), in Audio/Video Settings, the Video Playback is listed as AJA Kona LH 1080i29.97 10 Bit (1920 x 1080). When I change this setting to 8 Bit, my problems with display on the external monitors (both SD and HD) go away.”
Bob
you do not mention what is your original material and how was it captured or more likely converted to ProRes.
See you’re starting with 8 bit materials and working in Standard PR content that is NOT going to force a 10bit space unless you added something ( filters or effects) to the mix to force the files to re-render. If you are working with a minimal cuts only project I have seen this issue with only the 8bit output not being affected.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640