Gary Adcock
Forum Replies Created
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[JeremyG] “Hello. I have a dual 2.0 G5, a huge 4105 4Gb fibre (1.25TB), that is clocking over 200 MB/sec. Does anyone get ANY real time fx on DVCPro HD 60p footage? I get absolutely zero.”
Jeremy
you need to check your settings make sure that your time line render settings are not set to safe.
you will need more than 2G of Ram, properly set scratch disks (to the fibre)
I am At the Varicamp in Chicago today showing 5 steams of 720p60 on a 2.5 | 4 G RAM | 2g fibre.
I can do 9 streams of 720p24 in FCP5 / QT7 / 10.4.1 on the same system.
gary adcock
Studio37
HD and Film Consultation -
[michael del rossi] “Unlike FCP4, FCP5 upgrade Deletes previous installs!!!
“Rename your apps prior to installing FCP5 – Then they work just fine with both installed.
gary adcock
Studio37
HD and Film Consultation -
[Peter McAuley] “Will this new driver benefit people still on 10.3.8 and is it reccomended.”
Peter
I was told the driver will fix issues with QT7 in either Panther or Tiger in addition to full support for FCP 5 and its capabilities
( HDV, multitrack audio, etc.)gary adcock
Studio37
HD and Film Consultation -
q[Ron] “So when you monitor video and audio, I assume you do it through the K2, right?
“Yes
Audio ALWAYS follows Videogary adcock
Studio37
HD and Film Consultation -
Once again
no…
gary adcock
Studio37
HD and Film Consultation -
[MPE] “most major Hollywood films are cut 24p – not 23.976 – with Avid Film Composer. Choosing between the two depends on many little factors – the biggest being how is sound being handled.”
“most hollywood films w/ Avid Film COmposer”
But more “film” content is cut every year by NFL films than motion pictures in Hollywood (according to kodak). Music Videos and commercials are produced with both 35mm and 16mm films and not cut at 24.0 but at 23.98–just becuase I have never heard of comercial cut at 24, yet I am sure that some have been.
Not everyone that working in motion picture film is in Hollywood nor do they wish to be.
Many people on this list make the assumption that 24p is really 24.0 FPS when it is really 23.98 and my comments here were directed at someone that did not appear to understand the difference.I made the 23.98 vs 24fps mistake the additional charges in Post cost me most of the profit I was to make on the job. That is why I became outspoken on the 24Fps workflow. I taught 3 sessions on it at the past NAB. Next year I am adding the filmout workflow to my sessions for this very reason.
gary adcock
Studio37
HD and Film Consultation -
[Joey Korenman] ” Can the Kona 2 somehow run both a component and composite signal out? We’re planning on ordering the KBox as well if that helps. “
No the composite signal uses the Y/G cable (green) of the analog component
cable so the is no way to get both at the same time. The Kbox will not help you.gary adcock
Studio37
HD and Film Consultation -
[tony salgado] “Bob,What the heck is going on don’t you read the manual???
OUCH..
you may also like to know that the earlier version
did do assemble edits. they added the screen and took the assemble away. gary adcock
Studio37
HD and Film Consultation
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[isoprophlex] When the company that is doing effects work / final conform in 24fps, and insists that you give them a 24fps edl…
I’m not sure you got my meaning
I was not talking about a 30-24 edl conversion— my film outs are always conformed done at 23.98 and most of conforms I have worked on are not being done at 24 but at 23.98 –but everyone still calls it 24p. The Kona cards will mirror most of the capibilities of the Ignighter, in my findings only the hardware cards are able to do 24.0 frame rates.
and again will will shoot yourself in the foot if you work at 24 and do not deal with the audio issues of a 24.0 (not 24p) frame rate.
gary adcock
Studio37
HD and Film Consultation
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[walter biscardi] ” There is an Apple DV Advanced mode and of course there’s the DVCPro HD 24 mode which are both supplied by Apple and allow you to edit in true 24fps”
ah 2 things here the 24pA format is not 24.0 FPS (TRUE 24 frame) it is 23.98 also, secondly and most importantly
WHY do you need to work at 24.0
this is one of the biggeest mistakes one can make when trying to work at 24p as all of the Video to Film tools are based on the 23.98 TC rate NOT 24. 24p video is 23.976 FPS and when it is laid back to film it is done as feet and frames.
How are you going to handle your audio? the audio needs at 24.0 are different than audio at 23.98 and finding this out late usually doubles your audio post budget.
gary adcock
Studio37
HD and Film Consultation