Gary Adcock
Forum Replies Created
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[Michael Nichols] “This project is one big minefield! “
A couple of things here.
Why did you start working at 24.0? it makes no difference to the DPX files they are still frames that are being interpreted as what ever you tell it to be.
“The project was initially 24, but I set Gluetools to read DPX files at 23.98 and re-imported everything. I created a new sequence and pasted edits in a sequence that was 23.98 and didn’t need to render anything. Perhaps this is my mistake in this situation.”
yes it was, but wise of you to see that.
One thing you are not mentioning is that audio files do not normally carry timecode- an Audio file is measured in feet and inches or minutes and seconds- Time code is something that we arbitrarily add to the file so that it matches the video frames, but in reality formats like Aiff do not have a place for a TC track.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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>> The machine is currently on the bench at Tekserve in Manhattan << Could not have taken it to a better place. They do my repair work also. gary adcock Studio37 Post and Production Workflow Consultant Production and Post Stereographer Chicago, IL https://blogs.creativecow.net/24640
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How should I know? – the tape should be marked- and if not you need to double what ever you are charging, if they did not even both to indicate tracks- you are going to have a ton of correction to do in post.
My first guess would be to look at the slate info, second guess would be to check and see if one of the camera images is flopped- that would indicate and over under rig and the top ( flopped) camera is usually the left I
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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>>Is there any way to demux the 4:2:2 X2 signal that is output via the Sony 5800 VTR using Final cut pro with the KONA 3 card?<< The signals on the tape are not MUX'd the configuration is called Dual Stream each is an independent video stream. The Kona 3 card can handle dual stream signal on output with the Cineform Neo 3D codec installed, final cut is not capable of capturing in this manner right now. You will need to capture each of the video streams individually you should use the same TC in and out points for each stream. Use L&T to capture one channel, then use the same settings to capture the other channel ( and make sure to uniquely ID as R or L!!!!) gary adcock Studio37 Post and Production Workflow Consultant Production and Post Stereographer Chicago, IL https://blogs.creativecow.net/24640
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[James Mortner] “Is there a way to export DPX files with the luminance preserved ? Do i need to export with a new white point so as to preserve levels within 100% ?”
You missed a setting in compressor, or it could be in your GT Prefs.
what are your settings in the GT prefs pane?
which compressor settings did you use.
Like I said you missed a setting somewhere that truncated the color space to “broadcast safe”
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[James A Smith] “Just to be clear the footage was taken it 1920X1080 24psf Prores(HQ).
Pal. “24.0 is not a PAL frame rate, but is correct for filmic content being cut in PAL countries.
“Frame size – 1920 X 1080 – HDTV1080i(16:9) ? – not P or psf? “
PsF is the native for all 1080 content delivered for broadcast worldwide, the cameras can capture as progressive- but playback is delivered as interlace (segmented frame), this is no different that how film projected in a theatre.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[James Mortner] “Ive conformed an XDCAM sequence, media managed all the shots into separate chunks and exported to DPX. Except the DPX files are clipped at 0-100 where the original shots went right to 125.”
Sure that’s not 115 IRE?
I do not know of too many cameras that can record to 125 IRE, and non of them are ENG style.Since you do not say how or with what that you handled this process we are all left to guess.
My guess is that you messed up and left a broadcast safe setting ON somewhere ( like in COLOR)- but without a workflow it is impossible to be sure.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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If your tools are not capable of handling the file, then you need to hire someone to handle it. The DCP output is specific to the point that I do not do them at all.
I am going to assume that you are getting paid to produce this file, if so it should be incumbent on you to have the proper tools to handle the job.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[Steve Godun] “”Does a clean install of the systems and apps still show an issue.”
Did that. The issue remains. Also tried cloning a known-good system to this problematic system and the issue remains.”
Yeah, sounds like a definite hardware issue, but I doubt that the Apple store will understand your issue or be able to help at all, why are you not calling the people that built your suites? They would be a better call than dragging your system into an apple store-
if its not a phone or an ipad- I can guess you are going to waste alot of time there.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[Michael Aranyshev] “If I remember correctly the build you tested had ProRes 4444 disabled. In ours it is enabled but the LogC is still grayed out.”
Nope- that was not me- I had one of the only fully operational cameras with SxS recording fully enabled that were in the US at the time. ( go back in my blog- there is even a video walkthru of the camera that clearly shows that everything IS working)
If LogC is grayed out- you have the Project menu incorrectly set to record content only as Rec 709.
Setting the Project Menu to LogC allows both the Monitor and Record OUT to be either Rec 709 or LogC on either or both outputs, whereas setting the Project Menu settings to Rec709- effectively locks your recording and monitoring into the Rec 709 video space.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640