[Gary Adcock]

[Chris Wiggles] “I’m sorry, but you are mistaken about this entirely.”

Mr Wiggles,

please tell us all how you determined this? I tested the camera’s output based on SMPTE standards and found that it did not match the SMPTE specifications (both 372M and 425M) for 1080p60.
How did you determine your findings?

With only 3 posts here on the Cow (all within a few hours) and 2 of them attacking my posts on one subject, please why not tell us who you are and about your knowledge base so that we can better ascertain and judge your information.

I stand by my comments and statements.

gary adcock
Studio37

Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, IL

https://blogs.creativecow.net/24640

[Gary Adcock]

[Jay Mahavier] “We were told it should be working on the Alexa very soon, but that “very soon” is about half way through our next production”

Yeah tell me about it.

next time you talk to Mike Bravin ask for my phone number. You’re down south of me and you never know when I might be able to help.

gary

gary adcock
Studio37

Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, IL

https://blogs.creativecow.net/24640

[Gary Adcock]

[Jay Mahavier] “I’m still confused as to how to work with the ProRes4444. I need to be able to make either a DPX for TIFF sequence for VFX.”

Agreed, but since ProRes Recording is technically not yet enabled on the camera, we have some time.

Most high end workflows now support ProRes (Baselight, Nucoda, Scratch and the Autodesk tools) this request may reduce as time goes on. Most of the highend workflow I know of assume that most of VFX houses are really waiting for the ArriRaw to give them the greatest latitude.

I have been successful in using AE to generate the DPX/ Cineon frames correctly, Compressor will need a couple of hoops adjusted to handle the file correctly.

The whole point of going directly to ProRes is to bypass the conversion process- which is fraught with math errors in the conversions.

[Jay Mahavier] “I don’t believe this is Art’s test. “

I was not sure- there are very few of the cameras that have been configured to handle the DTE workflow as of yet, I know for a couple of weeks I had access to the only one outside of arri that was configured for DTE.

gary adcock
Studio37

Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, IL

https://blogs.creativecow.net/24640

[Gary Adcock]

Hey Jay,

Is this Art’s test?

First the ProRes from Alexa currently is Y’Cb’Cr not RGB, the current Alexa build that allows PropRes capture does not allow RGB capture to the SxS cards at this time.
the ProRes is also limited to 10bit until the next software rev of the camera.

The Aja Qt – Dpx converter should not have any issues converting to DPX-

gary adcock
Studio37

Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, IL

https://blogs.creativecow.net/24640

[Gary Adcock]

[Keith Davies] “1. Connect HDSR HD SDI A & B to a 2 to 1 barrel connector.”

I do not understand

The K3 card has SDI 1 & 2 as input, there is no way to combine 2 SDI signals as you mention.

Are you sure about your hardware- the K3 card should have what appears to be DVI connection and then 4 small gold plate Mini BNC’s ( 2 in and 2 out)

“What baffles me is if 4:4:4 as a standard requires dual link, how does the Kona3 manage it?
“

It is a hardware/ software collaboration where both the A & B channels are recombined at the receiver back into one signal. The issue is there is not enough bandwidth on a single cable to handle all of the data needed.

gary adcock
Studio37

Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, IL

https://blogs.creativecow.net/24640

[Gary Adcock]

Are you sure your monitor has hdsdi? What are you using and which kona easy setup?

gary adcock
Studio37

Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, IL

https://blogs.creativecow.net/24640

[Gary Adcock]

[Adam Ranzer] “I am able to see color bars in the monitor when I select the Test Pattern on the Kona Control Panel, but when I select Input Passthrough I get static.”

OK

Passthru assumes that there is another signal being sent to the deck. Think of it as E-E, so if you are not sending a video signal to the deck there can be no signal back out.

gary adcock
Studio37

Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, IL

https://blogs.creativecow.net/24640

[Gary Adcock]

Sure does Tim, set your capture type to VFR and your TC via SDIRP188 and you can capture the base SMPTE timecode values on the KiPro. ( 23.98,24, 25, 29.97)

gary adcock
Studio37

Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, IL

https://blogs.creativecow.net/24640

[Gary Adcock]

Ok
Couple of things, 444 can be both RGB and Y’Cb’Cr, but is always recorded as a dual link signal. The green image tells me you are only looking at a single channel ( channel 1 from the color). Only the Kona 3 card has this capability.

gary adcock
Studio37

Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, IL

https://blogs.creativecow.net/24640

[Gary Adcock]

Check the BOB and make sure it is properly connected, it seems that many people do not check the cables when attaching.

gary adcock
Studio37

Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, IL

https://blogs.creativecow.net/24640