Gary Adcock
Forum Replies Created
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[Shawn Larkin] “My Anamorphic Squeeze question is in relation to 35mm projection, which can only project 2.35/1 with Anamorphic Lenses. “
It is my understanding that only a small number theaters are using anamorphic projection for film playback, with less and less every year.
The process of squeezing the image was controlled at the output stage by the lab handling the prints so choose your lab wisely.
I have done Alexa tests with this methodology, but my output were spherical not anamorphic.
Also I would at least look into the Hawk1.3 Anamorphic lenses, minimal distortions, less flare, yet it will allow you to use every pixel of the imager without having to crop or scale your final image unless you choose to.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[Myron Lenenski] “Any and all of them. I uninstall first. I do have final cut on this machine as well.”
the software will not install if there is a conflict.
did you run the Conflict Catcher App?What else is in the machine, What hardware version, OS and which Kona Card,
If you are trying to install an OEM Card that you got on the internet- there could be issues.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[Shawn Larkin] ” toying with the idea of shooting my next project on Alexa with Spherical Lenses and simply cropping to the 2.35(40)/1 frame.”
being done all the time, as this is the process for most digital projects. Set the frame indicators in the viewfinder and go.
“want to know what is the best way to treat the cropping of the images.”
That should be left to whom ever is doing the finishing, this will offer most flexibility and control through the process.
“Has anyone seen a filmout of material that was digitally “squeezed” from a full frame crop an into anamorphic image area on a film negative”
why do that? I do not understand your need for an anamorphic squeeze on the film print?
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[David Smith] “All very good advice Gary, thank you. It is nice to know the feature works though, since sometimes it’s not practical to bring a computer and ethernet router into the field, whereas the Touch and MiFi fit in one pocket.”
David.
That is what PREP days are for with any tapeless workflow ALWAYS have a laptop handy to check media, fix drive corruption and to check and handle the media.Once the WiFi is set via hardline it will will become the default for the wireless settings and would stay until changed- so that there should be NO changes in the field.
[David Smith] “From a practical standpoint though, they are used in every mobile unit, every television studio, every theater, stadium, opera house and concert hall I work in. Many shoots have multiple departments running their own networks in addition to the house system(s). Heck, even the audio department sometimes!”
All the better reasoning to run device control of your master recording via SOMETHING ELSE, I would never compromise my camera master which is what we are talking about.
When there are multiple Devices accessing via WIFI there can be delays and COM errors due to the error correction inherent in 802.11
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[David Smith] “No gang control yet, I’ll futz some more, but naming clips and such in the field just got a whole lot easier for me (if I can indeed replicate these results in the field).”
Guys,
as jeremy said setting this up for wireless is best done via the browser using a fixed ETHERNET connection, I have worked with these units from the very beginning and after fighting the setup via the front panel for the first 6 months in pre-release, I found that I could setup the wireless faster, with less frustration by connecting a hardline to setup the units then converting to wireless.
NOTE: Gang Controls can only be set via the browser.
You CANNOT setup GANG functions from the front of the unit, and to command the GANG settings needs to have an active connection to each other. While this can be done over wireless- it will be far more reliable by using a standard RJ45 Ethernet connection as the 802.11 spectrum can effect some wireless audio systems and some camera controllers.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[Garrett Gibbons] ” converting the h264 from the Canon DSLR into ProRes 422 HQ will not improve the quality of your footage. The acquired footage is so lossy that I’ve actually found that ProRes LT is the sweet spot to balance size and maintain quality from a DSLR.”
Garrett,
while then PRLT variant is the sweet spot, I advise using the PRSQ to give you a little more headroom and quality, so that nothing is lost in the editing and grading process.There is Not really any advantage with converting between 2 equal codecs, however by using the next level of quality that you are gaining the benefits without over taxing your system, storage etc…
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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Don’t be a moron…
Lance,
This was an EXTREMELY offensive post to another forum leader.
And frankly you do not have a clue about ProRes, there is absolutely NO reason to take a highly compressed h.264 file and balloon it by using either PR444 or PRHQ. Rich is only mirroring MY recommendations, so I am the one you should be attacking,
What, by passing to another codec you some how create additional quality? It will NEVER be more than what was a shot, by forceing the file to a higher level codec all you are doing is taxing the CPU and storage without any gain in quality.
When using ProRes standard the 8 bit materials are carried in a 10bit container and it will only convert to 10bit
when rendered or modified, however with HQ it will force the 256 levels of 8bit content to fully expand into the
1024 levels of every time you open or play the file, limiting the performance on all but the most powerful machines.I have done these tests all the way back to film with standard, HQ and 4444 and I stand by my tests, DSLR footage gains absolutely nothing from processing in anything more than ProRes (SQ)
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[Granger Pushton] “So when it says “Capture device” is it talking about one of the IO aja units? If so which one would I need?”
Yes it is talking about a capture card or something like an IoHD.
HOWEVER.
HDCamSR materials are often recorded as 444 RGB and to access that level of material you are limited to the Kona3 card in a powerful Desktop computer which will allow you to capture HDCamSR materials in all manners up to 10bit 444 RGB over DUAL LINK HDSDI.You are going to need incredibly fast storage to be able to handle that amount of data when being captured. Data Rates for uncompressed materials run from 150MBps to over 600 MBps ( that’s megabytes per second)
Did I mention that there are NO such thing as realtime effects when working uncompressed?
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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The Lhi is able to video lock on a 720p59.94 signal. However in FCP 7.0.1 I am unable to get a preview in log and capture or a preview under the lhi control panel “input passthrough
Since you can see the aja control panel – what does the center “frame buffer” show for a format? ( take a screen capture if you are not sure) If the control panel is telling you that the incoming frame rate it 720p then something is wrong at the camera end, not at the card.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[Shane Ross] “Nothing new. Yesterdays editors and veterans had to do the same thing. People typcially learned on the job…as assistants. or apprentices. Learn as you go up the ladder. Now, people just buy a camera, buy an NLE, and BOOM, they are professionals. Sorry…it doesn’t work that way. This is a craft, just like any other. I don’t just buy a hammer and nails and BOOM, I’m a carpenter.”
Shane.
as usual your commentary is right on the money.here here!!!!
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640