Gary Adcock
Forum Replies Created
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[B.J. Ahlen] “So in FCP, it’s up to 12 bits in and up to 10 bits out, except for the up to 16-bit alpha channel in ProRes 4444? “
OK where did you come up with that? I cannot find that written anywhere in that whitepaper.
It I my understanding that the PR 4444 codec supports 12bits IN and OUT, While the ProRes 422 is limited to 10bit max the 4444 version does actually support 12bit capture and playback.
In reality there are very very few camera can even generate an actual 12bit signal – Sony’s F35 can for example generate a 12bit signal-but there is no Sony device that can capture that 12bit data.
Currently only externally capturing the signal asDPX allows for handling files at that bit depth and those recorders are very expensive. I do not believe that RED is has opened up support for 12bit file handling in any app not using the native R3D files- and I know that Phantoms .Cine format supports up to 16bit natively and that you can only maintain that when exporting as DPX frames.The reasoning behind a 16bit alpha was to offer the best possible data masking for ultra smooth luma keying or masking that having 65,000+ levels of grey for the mask would allow and 16bit alphas are the standard in the VFX world.
I am working with Arri and Fletcher Camera Chicago to be on one of the first Alexa’s in the country to test this very thing in ProRes vs Raw to get to the truth.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Technology Development
Quality Assurance AssistanceChicago, IL
https://blogs.creativecow.net/24640
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[Marshall Lee] “I’m having issues with my FCP 6 (G5 Dual Gig 2.5) capturing an HDCAM SR 4:2:2, 23.98, 1920 x 1080 with the kona card. In capture settings, I’m changing the frame size to 960 x 540 and it still captures at 1920 x 1080. “
It is my understanding that the FCP / Kona will not allow you to capture video outside of standard SMPTE frame rasters.
Would you please explain for what reason you are trying to do this at capture? This is NOT a standard frame size for anything I know of other than Apple TV.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Technology Development
Quality Assurance AssistanceChicago, IL
https://blogs.creativecow.net/24640
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[Lawrence Young] “But how many channels of audio in? One, two or more?
“Alexa has a 5 pin XLR input which does allow for stereo or dual mono ingest
Most of the high end cameras record audio as a dual mono signal to allow for splitting them into discreet channels as well as to combine them into a stereo signal.
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, ILhttps://blogs.creativecow.net/24640
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[Uli Kunkel] “Did you by chance see my last post in the FCP forum about outputting 4:4:4 RGB from with the Kona 3? “
No
repost it in the Kona Forum- 444 stuff gets lost in the noise.ga
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, ILhttps://blogs.creativecow.net/24640
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Trying to make champagne from dog pee I see…16 bit from HDV?..
ROTFLMAO…
Shane, dude.
Stereo HDV has 8bits per channel.
16 bit for all….gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, ILhttps://blogs.creativecow.net/24640
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requesting that the media I am delivering be in 16 bit color, in any format HD (h264) HDV, DVC Pro HD, or just good old DV/ DVC pro
Ummm, None if those formats are 16bit – all are 8bit.
There is really nothing greater than 12bit LOG in video, and most video is capturd and played back at 8bit like these cocdecs are and rarely if ever does it exceed 10bit.
The easiest way to achieve 16 bit is via DPX as it is the only universal format with that bit depth.gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, ILhttps://blogs.creativecow.net/24640
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[Jessica Mathies] “I too am looking to buy this camera, but am hesitant because I need to edit in Final Cut. Can someone please advise us on which workflow would be ideal? “
Jessica
1080 60p does not exist on a prosumer cameras, that is a professional format that requires a DUAL LINK signal (2-HDSDI or 1-3G HDSDI connection). You will need a high end VIdeo card ( AJA or BMD) card at minimum to be able to handle that signal or to load in the easy set ups to be able to do this.
There are only about 12 camera models or types that support 1080 60p and all of them cost in excess of $60K USD
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, ILhttps://blogs.creativecow.net/24640
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David,
Why would you assume scratch only audio? The 5in XLR input is at the front of the camera not the rear, so maybe that is confusing to some, but the camera will record professional quality audio 24bit @ 48k that is not scratch audio in my world.
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, ILhttps://blogs.creativecow.net/24640
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Hey Mike,
I did not see you there. You are correct that not all of the flavors will be available at first, and likely only one ProRes version in the first cameras released, so I have heard the same that you have also, but the camera there at the booth was showing all 5 versions ( 4444 to Proxy) in the menus.
Did you go over all of the menu outputs listed? I asked a couple if they were all accurate as there were couple of odd ones in the list I am still trying to understand what the output labeled as 1.5G 444 could possibly be.gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, ILhttps://blogs.creativecow.net/24640
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I am with you Walter, this is not my experience with the CS5 / FCP combo, I have been testing these 2 app for months together and note eve had any issue.
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, ILhttps://blogs.creativecow.net/24640