Gary Adcock
Forum Replies Created
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[John Cummings] “But as a small-time DP, what I want to know is this: Does the Alexa make great images? How will it look on the small screen? Is the camera ergonomically and intelligently designed? Can I pop it off the tripod and run with it?Is it rugged and reliable? “
John,
After having another close look at Alexa 2 weeks ago my answer to all of the above is
It does take gorgeous images, built like every other arri product, (top quality) and it is intended to fill the needs of a shooter like you.” Is it noisy? Does it run hot? Are the controls and menus easy to access and understand? Can I easily operate it solo? Does the post path work for a wide variety of clients with different systems? “
It is ultra quiet and the units at NAB that ran for 12 hrs straight were never more than warm to the touch. All Arri products are designed so that either solo or assisted shooting are equally simple and straight forward. The button controls and layout are going to wake up camera interface designers as Arri has brought some of the simple logical button functions that change dynamically as you change functions.
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 Battistella] “Is it possible to capture single system or does it always require double system. I did not see audio inputs on the body and there do not seem to be any recorded audio specs on the website. “
There is a standard 5pin xlr connection on the front of the camera for stereo audio input and a mini stereo for headphone monitoring.
There are no other analog outs on the camera however. Pro Audio output is embedded in the HDSDI only.
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, ILhttps://blogs.creativecow.net/24640
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[Herbert Forsberg] “Perhaps they just haven’t published them yet.
“on the Aja web site
https://www.aja.com/ajashare/AJA_Windows_Software-5.0.0-x64.msi.zipThis KONA LHi 5.0 release updates KONA for PC (formerly XENA branded). Support has been added in this release for Adobe Premiere Pro, After Effects, and Photoshop CS5 (AJA plug-ins are now all 64 bit). Also added were support for Premiere Pro CS5’s Mercury Playback Engine, CineForm stereoscopic playback, and Real-Time Apple ProRes playback support for AJA Premiere Pro sequences. Please read the included release notes for additional information. A new KONA for PC manual, version 5.0, has also been released covering the CS5 support and other changes.
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, ILhttps://blogs.creativecow.net/24640
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[Joshua Weiss] ” am using the AJA Kona LHi for my I/O. I just got the CS5 uprade for Adobe.”
There are NO CS5 drivers (on windows) for the Kona cards yet, the Mac versions only shipped last week, the wintel drivers are due sometime in the near future.
are you sure that your LHi card is running the newest 64bit driver version?
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, ILhttps://blogs.creativecow.net/24640
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[John Heagy] “On he FCP side… there is no 29.97Psf Kona3 output setting.”
I have had this argument with AJA for years,
first response was that nobody shoots 30p, then the response- why does anyone shoot 30p?But I do not have an answer.
IMHO is it like the reason that there has never been a 1080 25Psf setting either (as AJA lists the 1080 as 25i) The signal as defined over the pipe in the PAL world is at 25sf and is always interlaced whereas there are devices that playback 24p ( 24.0 and 23.98) as P not just as PsF.
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, ILhttps://blogs.creativecow.net/24640
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[Bouke Vahl] “Please enlighten me about P vs PsF. “
Lets start with a simple wiki page
https://en.wikipedia.org/wiki/Progressive_segmented_frame
I quote:
With PsF, a progressive frame is divided into two segments, with the odd lines in one segment and the even lines in the other segment. Technically, the segments are equivalent to interlaced fields, but unlike native interlaced video, there is no motion between the two fields that make up the video frame: both fields represent the same instant in time. This technique allows for a progressive picture to be processed through the same electronic circuitry that is used to store, process and route interlaced video.
The PsF technique is similar to 2:2 pulldown, which is widely used in 50 Hz television systems to broadcast 25 frame/s progressive material, but is rarely employed in 60 Hz systems as there is very little content of progressive 30 frame/s material. The 2:2 pulldown scheme had originally been designed for interlaced displays, so fine vertical details are usually filtered out to minimize interline twitter. PsF has been designed for transporting progressive content and therefore has no such filtering.
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, ILhttps://blogs.creativecow.net/24640
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[Alex Desrial] “In the Kipro site, what specific setting i will have to configure , do i have to set Configuration Menu -> Record Type to VFR ? “
EH?
Alex I am not sure I understand-
the VFR capture is via Arri Tlink to the Stwo recorder and the resulting playback is all done in the Stwo Capture and Playback settings. Change nothing on the KiPro.The footage would have had to be captured correctly via Dual Link into the Stwo system to start so that the recorder would be able to handle the slower fps converted output over HDSDI.
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, ILhttps://blogs.creativecow.net/24640
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[Bouke Vahl] “This is not correct. ANY device understands progressive. “
Sorry Brouke,
for the record you cannot send a “True P” signal to a CRT in any way shape or form.I have fought this argument many times (even John said it was a bad example of what he was trying to say) SMPTE SPEC for delivery does include P vs PsF debate but in reality not too many people ran into the P vs PsF until RED came on the scene, until that time all cameras were delivering PsF and noone was the wiser.
Segmented frame was designed to deliver progressive content over the existing interlaced transmission system, however it is the receiving device that determines whether the processing will be interlaced or progressive for playback.
Displays for the most part are dumb devices and do not care about progressive or interlace for the most part Sony has always cheated the signal naming on their own displays whereas Panasonic as always showed the signal type.
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, ILhttps://blogs.creativecow.net/24640
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[Alex Desrial] “we use STwo DFR2K-AR, is the model i use can out put converted speed too ? “
yes- the D21 and Alexa will both work this way with either of the Stwo recorders because you are capturing at a frame rate above 24 or 25 and the footage will be slowed down at playback from the Stwo base station via HDSDI.
Note that you need to set the recorder correctly to capture arri specific offspeed materials via Tlink.“And what do you mean by “converted speed” actually “
Your “Converted speed” would be the NLE Frame rate the content is to be edited at
– it is the frame rate the offspeed content is being converted to for playback.gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, ILhttps://blogs.creativecow.net/24640
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[Kevin Thorne] “I can save livetype at 99fps, but I do need to go to 240fps. That’s what this software requires.”
Kevin, could you comment on what you are doing?
I have never ever heard of any device requiring 240 Frames per second? (not one of my military clients go beyond 72 fps for PLAYBACK)are you sure that you do not have the frame rate and display frequency screwed up?
Video playback is usually at 50hrz or 60hrz- that is not the frame rate- that is the refresh rate of the display.gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, ILhttps://blogs.creativecow.net/24640