Gary Adcock
Forum Replies Created
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“mainly because YUV does not support Alpha channels”
Eugene,
as noted, I misspoke here.
What I was intending to say was that “YUV codecs rarely support alpha channels and since people with RGB masters are being used as part of the graphics pipeline that require them for compositing.gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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Eugene,
contrary to the poster who signed is post with “I have not a card to try any kind of test on capture, so my guesses at this respect are mainly based on related posts. “
Since I have actually worked with Apple, ARRI, AJA and others to hammer out a wide variety of ProRes issues try to explain some of these issues.
Arri, the oldest name in Film and a name synonymous with quality has chosen to use ProRes 4444 as their capture codec in their new Alexa camera, they could have created their own codec or used anyone of the dozens of other codecs available for this state of the art tool, but after testing ARRI chose ProRes to be THE native codec for Alexa .
The codec can only respond to what it is given. If you are shooting with a camera that generates RGB ( few do) or working in an app that defaults to RGB (AE, Color and Motion) you are going to get RGB, mainly because YUV does not support Alpha channels and people working with RGB masters often are being used as part of the graphics pipeline require them for graphics compositing.
[Eugene Lehnert] “I can capture RGB Dual Link material from an HDCAMSR using the ProRes 4444 easy setup but the timeline is set to YUV 10-bit rendering?”
Yes- its only a change in the capture settings on your capture card, contrary to another post it is easy to identify what type of signal is being delivered to your system- for me the Frame Buffer on the Kona Control panel shows the type of signal that I am working with, while my FCP or VTRX capture settings tell me what format I will be editing with. Its not guess work, its paying attention to what and how you are working.
“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.
I hope real information rather than a rant was helpful.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[Anthony Vamvakitis] “Anything that handles ProRes4444 and converts to 29.97 on the fly that runs thru a MacBook Pro?”
No.
Video output solutions for laptops for the most part take up the Express 3/4 card slot to give you proper output ( IE: Aja’s IoXpress or Matrox’s MXO2) and with the 4444 codec at 220mbps you are talking about needing drives that support playback from data that is about 85MBps.- that is beyond the capabilities possible from any FW enclosures.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[Eugene Lehnert] “Did anyone ever write an article discussing how ProRes 4444 works”
I have not finished it yet- I plan on having an update done in time for next NAB.
one issues is I have to let the usage agreement run out on the website that currently stored on, as my online commentary and assistance is only available here on the Cow.
In the mean time, what are some of your questions?
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[Tony Silanskas] “9) No, which has lead me to believe it’s a 1080p issue”
first off what are you monitoring your signal on?
I believe that the issue is because the format is actually PSF- most people cannot watch true P footage and the default for all 1080 Broadcast is Segmented frame and you are looking at footage that is juddering or looks “staccato” on playback.
maybe try that PSF version
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[Anthony Vamvakitis] “So I will be working on a project that will be shot on the Alexa and the dailies delivered at 23.98 in the ProRes4444 codec. Having not worked with that codec or camera before, I am wondering whether my G-Raid drive will be able to handle it “
ON Sata it should not be an issue. (PR4x4 is about 80MBps.)
you will not be able to playback 4444 content over FW easily or smoothly.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[jeff weiser] “Can anyone who has actually shot with Alexa give me an idea if the onboard audio is sufficient?”
No Internal Audio Recording in camera is not due until the next software build-
But when it is the audio recording internally will be 24bit 48Khz and that is certainly better than the vast majority of internal camera recordings which are usually 32bit and 44.1Khz
so for the long term the internally recorded audio will be excellent to use in Post.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[Chad Tingle] “Started reading this thread and got curious. I opened VTR exchange but I don’t see an edit to tape function.. only capture and grab..”
Try “FIle Open”
the output functions are hidden until you use them.gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[Gary Snyder] “In this application – the KiPro were powered off power supplies..
Fed by UPS ( So power loss to recorder impossible )”Gary.
Loss of signal is NOT loss of power-
the KiPro is DESIGNED to stop recording when the video signal is interrupted/ changed in any way.However if one recorder is stoping on the same video feed when another does not- then yes there is a big issue-
Are all the recorders on the same software build?
How is the signal being distributed to both KiPro’s- and which one is stopping?
are you attempting to loop a video signal thru one unit into another?TC source embedded or external? is it the same on both recorders
have you made sure it is not a cable issue?
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[Gary Snyder] “AJA is claiming that we did not supply a “good and consistent” signal, and the recorder stopped as designed…
It sounds like the recorder has a software or hardware bug..”I will confirm that is a standard function that will stop recording upon loss of or change of signal, you say that there are not issues but the recorder would not ID loss of signal if it did not happen. I have had that this happened with a battery change on one camera, the difference is that the AJA recorder was not built to the same specs as a deck is, and as an onboard recorder it is designed to stop recording when there is an issue with the signal or camera.
Yes, it is annoying, but a lot less annoying than unintentionally recording a couple of hours of black because the unit just kept going and did not ID any issues.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640