Gary Adcock
Forum Replies Created
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Do you own the deck too?
No, I do not own one Walter, however I get to work with them on a daily basis, and it also helps that I am the FCP / Post training part HD Expo’s VariCamp classes on the use of a Varicam and the in’s and outs of the DVCPROHD workflow, using both FW and HDSDI.
So I get time to talk to the people that create these cool toys, nothing more.
gary adcock
Studio37
HD and Film Consultation -
Yes
this deck will do insert and assemble edits but only via the optional SDI inputs, and then only at (1080/60i, 1080/59.94i, 1080/50i, 720/60P, 720/59.94P)I have only been able to get it to record over FW at 720p60 (DF & NDF) but it will not do an insert or
assemble here do to the inaccuracy of deck control over FW ( that 3-5 frame slop )gary
gary adcock
Studio37
HD and Film Consultation -
But conform is not useful in this scenario as it will speed up the 24p to make it run at 29.97 putting a massive pitch shift on the audio and making the action run fast!
AH the differences abound, most of the content I work with treats sound and image as separate entities ( from film masters with DAT audio), this is not an issue.
To solidify Graeme’s comments on adding the 3:2 back from a 24p timeline– FCP will attempt to do this after a render – with less than spectacular results.
However the AJA Io you list in your sig will handle that option for you when you play back to tape as there is no 24p on tape and as you know in TV land the NTSC signal is always 29.97 / 60i for playback.
gary adcock
Studio37
HD and Film Consultation -
But conform is not useful in this scenario as it will speed up the 24p to make it run at 29.97 putting a massive pitch shift on the audio and making the action run fast!
AH the differences abound, most of the content I work with treats sound and image as separate entities ( from film masters with DAT audio), this is not an issue.
To solidify Graeme’s comments on adding the 3:2 back from a 24p timeline– FCP will attempt to do this after a render – with less than spectacular results.
However the AJA Io you list in your sig will handle that option for you when you play back to tape as there is no 24p on tape and as you know in TV land the NTSC signal is always 29.97 / 60i for playback.
gary adcock
Studio37
HD and Film Consultation -
Thats what a conform does.
it retimes the clip so that it will play properly when inserted back into a 29.97 timeline. While this is NOT
the same as what Graeme’s filters will do — but it has been the standard for handling this type of content.
The Standards filter actually create the Telecine frames whereas conform “recreates” the timing.conform (video) To change the frame rate of a video clip. For example, you can use the Cinema Tools Conform feature to change the frame rate of a PAL 25 fps video clip to film
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cinema tools also does a fine job of telecine on 24p footage to convert it back to 29.97
gary adcock
Studio37
HD and Film Consultation -
[Pierson Jacquelin] In Final Cut Pro, which we are using to digitize and edit, I don’t have any control of the field order when I dij. I can change the field order on the timeline, but even when I do, it doesn’t seem to affect the video output, i.e., I still get the same visual artifacting.
FCP allows for you to create capture and Seq settings that allows for any number of possibilities when capturing data as long as you stay within the
FCP timebase for editing content ( sorry no 15 or 12 FPS anymore.)[Pierson Jacquelin] We had three HDV source tapes that were shot in some flavor of 24 and then transferred to HDCam at 29.97 so they could be incorporated into the show. When I look at the resulting HDCam dubs, I can see the 3:2 pulldown insertion pattern–and these tapes are particularly poor looking when digitized to DV.
Of course you see the pulldowns from the HDV!. Assuming that SONY HDV was used for the shoot – your out of luck as the SONY HDV format is awful in terms of the cineframe settings ability to actually be 24p ( https://adamwilt.com/HDV/cineframe.html ) and you possibly did yourself a disservice by dubbing the HDV tape to HDCAM if you tried to stay at 24p on the HDCAm Master as the HDV camera tries to be at standard 3:2 but the HDCAM tape records at 2:2:2:4 when you do not have the optional 3:2 rev telecine boards installed
But I am glad that rudy got you straightened out on the HDCAM to DV down-conversion this is one of the great features of using the K2 boards.
gary adcock
Studio37
HD and Film Consultation -
[Pierson Jacquelin] We’re digitizing HDCam 59.94 sources through the Kona2 card to DV @ 29.97 for our offline edit. I’m encountering some weird field order issues that I believe are the result of the upper field first nature of HD being converted to the Lower Field first nature of DV
On most windows versions of DV it renders upper field first, and even AE on the Mac renders DV files that way. and there is nothing that says you cannot make your offline files force to upper field first when doing the capture. However if the content was shot at 24p you do not have to do that this way as progressive content does not have a filed order.
gary adcock
Studio37
HD and Film Consultation -
[Walter Biscardi] “Just run the 1080i footage into the HD-SDI input and out the HD-SDI output at the 720p setting and then you can use the Kona 2 to capture at teh DVCPro HD codec. “
Guys, guys the DVCPRO HD codec has specs for the 1080i formats! then you do not get into the frame size conversion. USing a board you can capture directly to the 1080i DVCPRO HD codec and get the benefit of the smaller files whaile still working at 1080.
gary adcock
Studio37
HD and Film Consultation -
[alan] “Question is,will the footage captured using the Cinewave YUV codec be compatible with the new Kona 2 card when editing in the same timeline?”
Yes it is, Use the AJA 2 vuy codec when using captured video from Cinewave or the orginial BMD codecs from teh first Gen kona boards
gary
gary adcock
Studio37
HD and Film Consultation