Gary Adcock
Forum Replies Created
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So Fred,
Since you asked the original question- you can once again complain about my comments without adding anything to the discussion.
what did you find that was better on a Mac.
I do not build computers- there are companies that do it better than I do, what do they say.
if you can afford an Alexa ( you post on that forum too) 9K for a tapeless backup system is nothing.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[James Thayer] “I just upgrade my graphics card from the Nvidia GT 7300 to a Radeon HD 5770.
Final Cut Pro requires that your system have a Quartz Extreme capable video card..”1) change the port on the graphics card your monitor is connected to
upgrade to FCP 7, this was an issue with FCP 6.x versions.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[George Orallo] “We are think of getting the Kona HLi and I have a question about how it handles 2K, What is “non-RGB” and how will this effect my outputs for SD broadcast? We usually shoot RED 2K and end up finishing in 1080 anyway then down converting for tape delivery. “
The LHI supports 2K frames upto 2048×1152 at 29.97 and 1920x 1080 up to 60p only over 3G HDSDI which is basically Dual Link over 1 SDI cable from devices that support 3G connectivity.
This should not effect your ability to shoot 2K r3d files and output a down-converted SD signal.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[Neil Sadwelkar] “Ok I came across the same problem. On a shoot I got clips with mixed frame rates.”
Neil,
there is a known issue contact your local arri rep.gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[Marcus Vasques Osorio] “How do I convert the ALEXA ProRes 4444 material to Pro-RES 422 (LT) for editing so that I can then relink to ProRes 4444 at a later date for online. “
The fastest way to do this is with Compressor or Episode from your original ProRes content, that way there is continuity between the file naming and the TC on the original clips.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[Jeremy Garchow] “Does an ha5 3G exist?”
IT seems that you maybe correct, the connection I was thinking about was not Using HDMI.
The converter I was thinking of was in and out but only as Dual Link to 3G and Back.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[Matt Killmon] “Useful for someone, but that’s actually the opposite of what I want to accomplish—unless that is bi-directional. I’m trying to convert from HDMI to dual-link HD-SDI in the case of using the KONA 3.”
Then you would use the HA5 3G which is the opposite path for conversion.
“The question about ingesting converted (decoded to 6-channel AES) surround audio with the LHi stands, though. “
The problem is that FCP does not support surround sound so it is hard to capture- you would be better off trying to do dis-embed from the AES signal to get the proper outputs.
One thing you have not mentioned was disk speeds- you will need 2X the bandwidth for storage that you use with 60i content.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[Matt Killmon] “The first is: are there any converters on the market that will accept HDMI or DVI input at 1080p60 and output that over dual-link HD-SDI? “
The Hi5-3G does this now – takes Dual Link, 3G or single link HDSDI and converts to HDMI
” does the KONA LHi’s HDMI input allow for 1080p60 capture? And, if so, can its 3G HD-SDI output be used to monitor it on a suitable broadcast monitor? “
Yes- but NO
Yes the K3 card can and does handle 60p, However the content you are attempting to capture has HDCP copy protection on the HDMI and that would keep you from capturing that content digitally. If you are doing marketing for these companies there are ways to capture the Game content in the LAB, but all AJa products support the HDCP protocols, so if HDCP is in your signal- the Aja tools will not support capture of that content.
Component still works fine.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[Wayne Wright] “As I understand it from previous posts this is to be expected, as although everything is progressive internally all tv outputs end up i, so we’re getting two fields in succession that are the same? (This is not comfortable on the eye).”
Correct Wayne,
The correct setting to allow for motion should be either the EasySetup for ” Aja Kona 25i” in drivers before v8.0 and “25PsF” in the 8.0 and later drivers
Your LCD is only showing you what you ask for and 24/ 25p is hard on the eyes when even in the theatre every frame is flashed 2 times on screen.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[Marcus Vasques Osorio] “Is it possible to play back in 25fps this material and create offline in Pro-RES 422 via an AJA IO HD that will re-link to original tapes at the ONLINE? “
IF you are talking about recording the 25p Signal direct from your SR deck it should not be an issue if you make sure to use the same naming conventions for your offline materials.
You should also be able to do this directly in Compressor or Episode to maintain exact file-naming and TC.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640