[Gary Adcock]

Sato-san,

what is your original format?
what are your timeline settings?

This is a problem with all of the DSLR camera formats, none of those cameras support 24bit audio at capture. So the audio has to be rendered for playback and RT extreme is rendering audio files faster than it is rendering video files.
A complete render of your timeline will solve this issue 99.99% of the time.

Turn off RT extreme (use SAFE Mode) and render your timeline completely.

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, IL

https://blogs.creativecow.net/24640

[Gary Adcock]

[sato masashi] “Some time, when I play the timeline, the audio wil go out of sync from video. “

Make sure all your audio is 24 bit 48K

make sure there are no gaps in the audio tracks

try doing an audio mixdown within FCP.

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, IL

https://blogs.creativecow.net/24640

[Gary Adcock]

[Marc Poliquin] “Are you saying that psf is best even if you’re not laying back to HDCAM? Why? “

because all broadcast signals are designed to be interlaced for transmission.

There is NO difference in the images, only in the manner that the image is transmitted and displayed.

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, IL

https://blogs.creativecow.net/24640

[Gary Adcock]

[Matt Kerstein] “I installed the AJA 7.5.1 control panel and now I get a light blue band rolling in the top third of my Panasonic SDI monitor when i send black from control button?”

depending on which card from Aja you have, you MUST upgrade the firmware on the card when you update the drive.

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, IL

https://blogs.creativecow.net/24640

[Gary Adcock]

[Chuck Pullen] “I am using a PC with Windows 7 (64-Bit) I’m wondering if the 64 bit may be the issue? I also haven’t done the firmware update on the Ki Pro since it doesn’t like my PC based network (Don’t think that’s the problem though) “

The KiPro is formatted as a MacOS drive module.

Are you running software that will allow you to see MacOS volumes on your PC like MacDrive?

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, IL

https://blogs.creativecow.net/24640

[Gary Adcock]

[Gary Snyder] “I’d love to hear what others think about ARRI accessories, like their lens, matte boxes etc… “

That’s easy Gary,

Arri is one of the most respected names in hardware for Cinematic productions.

Arri’s association with Zeiss have produced some of the best lensing that money can buy with SuperSpeeds, MasterPrimes and the DIgiPrime brands the most respected. I have always been a fan of Fujinon Lenses and am not surprised that Arri teamed with Fujinon to give us top quality glass at an affordable price point.

Remember that the founders of Arri (Arnold and Richter) basically invented what is considered the modern film camera and the company has been building and designing professional camera products for over 90 years.

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, IL

https://blogs.creativecow.net/24640

[Gary Adcock]

Thanks David

My guess is all of the above (Arri is lurking here)

And with Bob Monaghan hanging around here also, we have one of the best minds I know of on ArriRaw and the highend workflow for that content in post.

My hope is that this forum will become one of the better resource places for working with Alexa and how to deal with her multiple workflows.

I even expect to see some discussion about Arri film scanners and cameras also.

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, IL

https://blogs.creativecow.net/24640

[Gary Adcock]

[David Battistella] “To what extend has NFL Films used/adopted RED camera’s. Does that workflow work in your pipeline? “

I am going to chime in on this as John and I have talked about this issue a number of times.

While it seems like RED would be a good fit actually offers too many challenges and too many points of failure at this time to fit into the existing workflow that Films uses without offering anything substantially better than the 16mm film they are shooting now.

One of the biggest issues was the slow speed of the sensor prior to the MX versions, but since a good deal of the NFL Film crews operate as self contained shooters the data handling would be difficult at the least, not to mention the turnaround time for R3D conversions into something useable for both Avids and FCP.

I had a wonderful time hanging with Michael Bravin from Arri last week getting the inside scoop and I have got to say I think Arri has hit a home run with Alexa. This camera has been planned from the beginning as a shooters tool, as all Arri products are, but add to that design a logical ease of use side panel for camera assistants and a thorough camera through post workflow that can deliver, ProRes, Raw or uncompressed content in the usual manner.

You can tell that Alexa is from a company that has been building professional tools for over 90 years.

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, IL

https://blogs.creativecow.net/24640

[Gary Adcock]

[Arnie Schlissel] “You should look into using Sony EX3 or Canon XHG1s cameras, with a sync generator connected to both of them to lock them in sync. “

Sync is only part of this issue with theses cameras.

differing levels of encoding entropy in the Long GOP compression can quickly cause eyestrain, especially when using and over/ under config.

Having worked on 1/2 doz 3D shoots so far and planning for 6 more thru July I can tell you one thing about using HDV or LongGOP cameras to record. DONT!!!

Stick to iframe compression, When you have 2 cameras that are not Slaved to each other as genlock is not locking the acquisition / compression only the video signal.

I will also state that you cannot just stick 2 cameras together to do this well, The more advance work that goes into camera and lens prep the easier post will be. Matching lenses is a bitch, I have had to adjust gearing ratios independently on focus servos because one bozo I was working with tried to do stereo with out matching the lenses and shading the cameras during prep.

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, IL

https://blogs.creativecow.net/24640

[Gary Adcock]

[Parke Gregg] “According to the manual I can create a batch list from Final Cut, and batch capture straight to DPX files using this app”

Sure do it all the time. Though there are a gothcha with regards to the XML batch list out from FCP.

VTX offers users a simple consistent way to capture or output materials without having to deal with some of the issues from FCP for real high end acquisition.

I do not have timecode issues- what issue are you asking about.

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, IL

https://blogs.creativecow.net/24640