Gary Adcock
Forum Replies Created
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[Lisa Koza] ” Am I to guess that’s even worse? I just want it to broadcast proper, and look good.”
Composite is going to be the lowest quality signal out of your camera, so no you are not helping yourself any, I bet somewhere there is a component connection on the camera – that would be better.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[Lisa Koza] “Testing it by printing to tape and playing it on my TV, using my cam. Freelance Editor here, not the big time. I have a 57 inch HDTV (projection, not LCD) and an older tube TV, digital, ect, does wide, but a little older. It of course looks better on the latter.”
Lisa,
you are looking at a down converted HD > SD image that is being upconverted (god knows how) on a 57″ HD projection TV?
You wonder why it looks bad?
You took HD and made it SD then converted it back to HD. Basically the fine detail needed to hold onto the edges of the plates has been lost in the DownconversionYou are working on an older (assumed) Projection HDTV that is taking your 726 pixel wide image and enlarging it to be 1920 pixels and displaying it on a 57 in wide display?
Projection TV’s have notoriously bad conversion tools built , one 4 yr old Sony unit a friend of mine has cannot even do a 720 > < 1080 conversion properly.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[jason levy] “I did update the drivers. I didn’t know that the board had updatable firmware. I can’t find that on the AJA site.”
look in the Aja utilities folder like I said in the previous message it is part of the driver install.
if there is a Kona Firmware Updater App, in the folder run it to make sure.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[Bob Cole] ” The sync seems to get worse the longer I play the video.
“believe it or not it is usually an audio issue, not a video one-
mixdown and re-render your audio
use slugs rather than blank spaces when you want black- these gaps will cause the audio to jump.
turn off RT extreme and render the file out prior to playout.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[jason levy] “Try to lay it back to tape or play it on the Panasonic broadcast monitor via Kona and it’s off.”
did you make sure to update the firmware on your kona card and Update the drivers too?
Applications> AJa Utilities > Kona updater
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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shane.
I have seen this when you have been using the converter for 720p HD and then changing to SD for an output.
Try setting the switches #1-#5 AND make sure the S1,S2+S3 switches all to the left ( 0 ) and then reboot the converter. It forces it to handle the output as interlace.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[Chris Lundy] “there is no SMPTE standard with 59.94 timecode”
careful.
both 720p59.94 and 1080p60 (which runs at 59.94) use 60 as a timebase.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[jon smitherton] “not quite right… HQ uses the 709 colour space instead of 601 – imperative for HD broadcast requirements.”
Jon,
the color space in prores is defined by the source and is variable with the input format.
SD footage is handled as REC601, HD is rendered as REC 709.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[filip vandoorne] “220Mbps = Mbit/sec is approx 28MByte/s , which can be transfered by most firewire800 drives. “
Correct but my mistake was that 220mbps is for the HQ codec and that ProRes 4444 is a variable bit rate codec that is targeted at 330mbps but varies from 275mbps to nearly 700 mbps depending on source materials.
1920 1080 @ 24/25 fps is just shy of 40MBps or right at the edge of a consistent playback capabilities over FW. I find consistent playback difficult at this data rate unless I am working with SSD drives, which a still fairly expensive.
“problem is that the current pciexpress sdi interfaces are 4.2.2 yuv, so the computer needs to recalculated in realtime to another colorspace.”
good point,
I was assuming the poster was just looking to monitor with not really use for mastering.gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[Rafael Amador] “[gary adcock] “”When does SMPTE range and Full Range come into play etc?”
If you don’t know which to use then allow stick with is given (usually SMPTE) as that is more reliable for the YUV workflow you want to use.”
What a heck you say?
Do you find any option in Prores 444? “Most hardware configuration capable of capturing a dual link signal allow for a varied type of capture capabilities, but since you have, of your own admission, never worked at this level, that there are tools that can define these parameters during capture.
“Gary, “On the job training” is very good, but without a proper understanding of the underlaying theory, all that knowledge is a “bubble”.”
You should heed your own advice.
“I wish I could have the opportunity to work with those people that (you say) you work with.”
I am sure you would.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640