Gary Adcock
Forum Replies Created
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[senthil kumar] “the converted DPX from the aja qt to dpx utility looks faded, like blacks look grey,”
That would be because you are looking at a LogC interpretation of your original, correct?
“what is the procedure to convert the aja 10bit rgb coded video to DPX??”
Use the included AJA QTTODPX translator, it is in the Aja Utilites folder to convert your QT movie to frames.
I personally use VTRX to capture directly as DPX over DL, saves the secondary step of conversion.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[Juan Madrigal] “Help Save the Xserve!”
No way, no how.
RIP.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[Fred Jodry] “Gary, some of us own cameras and lenses where the lenses have sales prices higher instead of lower than the cameras. It`s what you get out that counts. “
Pretty Snotty answer- However I will match my glass anytime, since I only buy lenses, I rent cameras.
I own a set of 6 Cooke i/4’s, a 100 mm Arri Macro and a matched pair of Angenieux DP Rouge Lenses for stereoscopic work all in PL mount.
“Since ARRI sold the Alexa as a camera that markets to sooner than film negatives, or live output of production, they have some catching up to do!”
Since when has it be incumbent on the camera Mfg’s to handle anything in post? The Alexa Content is designed to be handled like film does, where as every ISO needs to have slightly different curves applied. While there are default LUT tables for Arri, the reality is that anytime a new camera system comes out it is necessary to retune the post setup for specific cameras and lighting combos,
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[Shawn Larkin] “So the real “bottleneck” regarding full image raster and over-cranking is the SxS media write speeds –not anything else with the camera hardware?”
As long as you understand it is limited inside the camera’s hardware because of the media’s recording limitations- yes.
“I ask in the hopes that faster SxS cards will fix both these limitations down the line.”while faster cards are indeed possible, I doubt Arri would stay there using SxS media, if say SSD modules were supportable for higher frame rates and resolutions.
“I don’t really want to record raw and use an additional device when ProRes4444 is enough”
Ah… but in the Arri world RAW would allow for direct access to the Imager’s colorimetry giving the users power and control over a ProRes LogC file.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[Maia Conran] “I’ve just got a new panasonic HDC TM700, which has the option to shoot in 1080p 50, which I’m under the impression will be the highest quality,”
Maia,
This camera shoots one format and outputs a different, you will need to have an additional hardware video card like a Kona in your computer to be able to allow FCP to understand 1080p50 or 1080p60 formats- these formats are traditionally used to create “offspeed” effects not available in your camera,
Chances are the files will import into your FCP as 1080i50 not 50p,this is due to an issue with the MFG’s native files not being FULLY compatible with FCP.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[David Smith] “Not sure if it’s possible, but it sure would be nice to be able to bring in digital audio AND a couple of channels of analog too”
Again, not what the KiPro was designed for, while everyone wants them too, the KiPro’s were not ever originally designed to replace a studio tape deck.
You do realize to properly handle this type of function you would need to add in audio track assignment and the ability to lock specific audio tracks so they would not be over written, in addition to separate digital audio inputs.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[Shawn Larkin] “Gary (or anyone else), do you know if the 1080p Resolution of ProRes is a permanent thing?”
Shawn,
ProRes alone does not have those size limitations, it is limited in Alexa due to the speed of the media in use, ArriRaw will be coming after the first of the year (just a guess) and that will allow for import of the full image raster at that time using an external recorder.
“I would like to get the full “raw” resolution of 2880×1620 (50% more resolution than 1080p) to play with in post, but in the ProRes4444 Codec.”
Arri has made no announcements to that effect, I would expect that if they want to deliver the full imager via prores it will not be for awhile.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[Fred Jodry] “Why don`t you ask the lenses manufacturers and sellers if they make anamorphic lenses with irises that aperture in an opposite oval to compensate, or that simply don`t have the problem. “
Fred,
your replies always confound me,do you understand how anamorphic lenses work?
have you ever heard of a lens mfg creating or using a non standard iris on optics?Would you buy a set of what are already incredibly expensive lenses with custom mod’s to every iris? Better yet who is going to rent them outside of London and LA?
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[Chris Bell] “I read the manual… looks like 30fps is the limit for now”
60 fps capture as ProRes 4:2:2 to the cards will not be enabled until after the first of the year.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[Shawn Larkin] “FYI: The vast majority of theaters in the world still project 35mm. And you get these choices with a non-4×3 film frame:”
Yes I do know these things, however in this country (USA) the vast majority of 35mm film is NOT projected with anamorphic lenses, most new theaters do not even own Anamorphic projection glass.
“2) Full Projection Area using Anamorphic Lenses”
Again only valid with a theatre that supports this, I live in chicago and only 3 houses in town still offer anamorphic projection and it is a big deal to get them to use it ( expect at the Siskel Center) One of the issues I was told about was it required them to change the curtain setup to allow for full image so,they choose to not show films in that format.
“With the newer crop of digital 2K and 4K projection,”
I have never seen an anamorphic lens on a digital projector, not in the lab or in real practice, does not mean they do not exist, I have just not ever seen one.gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640