Gary Adcock
Forum Replies Created
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[John Heagy] “That’s not correct, we shoot 1080p30 (29.97psf) HDCam with our Sony F900s when called for. 1080p29.97 and 1080p30.00 are both part of the SMPTE HDTV standards. “
I am with Shane on this one.
1080 is always transported as an interlaced signal- as that is what PsF is – an interlaced transmission and distribution signal that can interpreted as either progressive or interlace depending on whether the receiver can understand progressive.
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] “Need your help how to get sycnc time code for slow mo material if we pair Ki with D21 and Stwo. Thank you for your help, I appreciate it.
“Alex.
you will have to regen the timecode on all offspeed shots, this is just how it is done to maintain consistent timecode.When working with a specific timebase ( 24 or 25 in your world) shooting at differing frame rates allow you to overcrank or undercrank your footage- and those slower or faster frame rates would have timecode based on original capture. So you shoot 50fps for 25p delivery- that means that every shot will run 2.X as long – and that makes the original timecode no longer valid- as the 25p time base of the original shot does not have the correct timing for a clip that is now 2X as long.
Make sense? –
FYI
the Stwo OB1 Recorder can playback the footage at the “converted” speed out to the KiPro- then use the KiPro to generate New TC on capture from the offspeed footage converted by the Stwo.gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, ILhttps://blogs.creativecow.net/24640
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[Ethan Koehler] “Connect a Pioneer Bluray dvd deck (max res is 1080p can do 1080i, 720, 480, outputs are HDMI out/composite/component.) to the AJA rack breakout, in through it’s HDMI in, use the card/software to cross-convert (my mistake on saying down convert earlier) to 1080i 29.97,”
I think that there is one big issue with this workflow.
HDMI transport protocols do not deliver interlaced video or timecode.HDMI is always a true progressive signal- in the case of interlaced materials the content is line doubled to achieve the progressive 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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[David Battistella] “Your post is argumentative because all I stated was that two pieces of software in the apple suite could recognize 4K, 4K timelines are a possibility in FCP. It’s not my fault the hardware has not arrived yet. “
It was intended to be argumentative.
You are working with a 3.5K original (on a non-MX sensor) that is being output as 1080- this is exactly what Arri is offering without hoping thru multiple still in beta apps and colorspaces that do not functionally exist outside of the RED workflow.
Arri is supporting both a raw capture and a defined ProRes workflow within the existing workflows on all platforms unlike Red’s software “bias” towards FCP and Scratch.
Once again, just because you handle the files in a standalone environment does not mean that everyone else is doing the same. I know of dozens upon dozens of companies that will never handle ANY files in RAW do to the time and hassle- but to discount or ignore that there are those facilities choose to not ever use the native format would be foolhardy in my business.
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] “One small correction is that Apple Color 1.5 and FCP 7 do actually handle 4K now.
“Please tell me how you are outputting a 4K signal from Final Cut?
if you cannot output a true signal the app is not handling the content IMHO.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] “I finish regularly from R3D files through Apple Color, off the shelf software.”
Just because you do does not make it so for episodic or other deliveries. I said the vast majority do not ever go back to the R3D and I stand by that statement. I never said it was not possible, I said that the majority never go back to R3D files and I stand by it.
The process you refer too only works in the Apple and Adobe worlds and the vast majority of content for episodic is still produced on antiquated Avid systems that cannot follow in this workflow.
Since Apple color is NOT by any means an accepted tool in mainstream production or finishing claiming that it can be done in a closed loop does not cover the vast number of other out there forced to work on a vast array of older editing systems that do not support formats beyond 2K.I Cannot make a case for Color when the limitation on the mac / FCP workflow is cobbled at 2K so going back to the R3D file is not ever going to be fully realized unless there is some manner of workflow that allows the user access to the full rez 4K image.
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, ILhttps://blogs.creativecow.net/24640
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[sato masashi] “I Turn off RT extreme.but,not sync.
“are there any gaps in your timeline?
any audio that was not captured from HDCam source tape?Voice over
Narration?
External Music?
and On-screen Graphics?any of these can cause render to shift.
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, ILhttps://blogs.creativecow.net/24640
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[Tim Maloney] “I’ll have from the Panasonic camera, two cards with the L R captured to each.
So I open log and transfer in FCP and I ……………. ?
Can you please fill in the workflow, Do I need to buy any thing other than the screen?? “Tim
there are a whole lotta steps before you get to FCP.
NO you do not use L&T in the Cineform workflow- you will need to handle the content as R & L files- convert them to the Cineform codec and then mux the stereo files inside of Cineform before handing them off to FCP.
You will also need to align the R&L in a frame accurate fashion prior to muxing the images.
you may need to change one of the camera orientations when using an over / under rig.please remember that left eye is dominant in 3D…
Not to mention you really do need a stereo capable display to view and edit the content correctly.
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, ILhttps://blogs.creativecow.net/24640
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[Pat McGowan] “.I would like some opinions about the business case in adopting Alexa versus say, Canon 5D MKII bodies or even Red bodies.”
OK, first off,
I have a stake in all of these camera systems and I am friends with players at all 3 companies.DSLR’s are great for B-cams, but when it comes to audio and ergonomics they are sorely lacking, add to that no ability to sync timecode, genlock cameras or using industry standard zooms and follow focus DSLR’s are niche cameras for working pro’s. They take good pictures but are limited by REC 601 encoded LGOP, RGB video files compressed as h.264.
RED- proven. But still bound by R3D conversions, vast majority of RED users never go back to R3D for final conform, lack of and actual cost of true 4K tools inhibit all but the high end players. Cost of entry higher than the cost of body alone, as having proper accessories for the camera push price 3x-4x body only cost. Using PL mount lenses can add huge additional expense over eng style lens. Getting asa 1000 and 13+ stops of latitude requires MX upgrade($$) to existing cameras. Only one of the 3 cameras listed with more than a 2K output.
Alexa- Not out yet, but first look is promising. ARRI ‘s reputation is unequaled in film industry.
ProRes capture in camera offers users highest quality ( up to 12 bit capture) while not forcing you into having to work in a RAW workflow first. ARRIRAW and / or Uncompressed externally output from camera offers predefined offline with PR then Online with UC or ARRIRAW. 13+ stops of latitude and ASA 800 out of the box. New Electronic Viewfinder and ProRes capture capabilities via SxS cards included in price of camera. Arri offers full debayered output live during recording via HDSDI / 3G/ DL connections. Captures ProRes as 1080 only, to get 2K you must capture externally.I hope this helps.
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, ILhttps://blogs.creativecow.net/24640
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[Fred Jodry] “Is Arri`s Blauvelt, New York location preparing any Alexa demonstrations?”
Fred,
Be assured that they are preparing to roll out Alexa all over the world in one simultaneous launch.My good friend Michael Bravin was kind enough to bring one of the Alexa demo bodies to Chicago last week for the Midwest Digital Cinema Society Alexa event presented in association with Fletcher Camera and Lens.
Right now there is a mad rush to complete the camera for delivery starting (I was told) in late June or early July. Currently all of the working units are onset for 2 upcoming films so working units will be scarce for the time being add to that, many of the key people at Arri were trapped in the US after NAB due to the volcano in iceland that is still reeking havoc on European air travel.
I also promise to do my best at keeping the herd at the Cow informed when I receive my unit for tests.
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, ILhttps://blogs.creativecow.net/24640