[Gary Adcock]

[Warren Eig] “https://blog.digitalcontentproducer.com/briefingroom/2010/04/12/aja-teams-wi… “

I showed for AJA this along with the Qtake HD software in the 3D room at the REDUG meeting.When software was being demo’ed I had a KiPro handling the Side-by-Side content playback on the JVC 3Ds monitor we carried into the room

While Cineform has supported playback via the Kona since last year, AJA worked with them to now include support for Dual Steam Playback when working with monitors or devices that support recording and playback of dual stream content.

This allows people with Kona cards to be testing and practicing with dual stream tools rather than always having to deal with SbS or Stacked 3D content.

it worked pretty damn well Warren.

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

https://blogs.creativecow.net/24640

[Gary Adcock]

[Dave LaRonde] “I’m glad someone who knows his stuff about cameras is in this forum. “

thats why they keep me around…
not good for much else.

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

https://blogs.creativecow.net/24640

[Gary Adcock]

[Anthony Bairstow] “I am working on a short film, shot on ARRI D-21, with 16:9 anamorphic lenses(are they called spherical lenses?) on to a HDCAM-SR tape “

OK I am REALLY CONFUSED.

Spherical lenses are the straight old kind like digiprimes and super speeds.
Anamorphic Lenses fill the frame area- but require processing to fit a specific frame size.

The D-21 has what is called Mscope mode that outputs 2:35 out via HDSDI with letterboxing.
or did they use the New HAWK 1.3 anamorphics that capture fullframe 16×9 that is expanded to 2:35 when properly output?

GIVE ME A FULL FRAME IMAGE TO SEE

“4. The projector (when film is shown in festivals) will apply the correct ‘squeeze’ to the 2:35 picture, displaying it at the correct ratio- without any letterboxing.”

that would be doubtful unless you made sure that they were prepared ahead of time to handle anamorphic master content and you had the correct optical ratio inplace for projection.

This is MORE COMPLICATED than just outputting to tape and may take multiple masters to handle the content for a variety of situations.

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

https://blogs.creativecow.net/24640

[Gary Adcock]

[Illya Laney] “At 70 mph you’d have to deal with that wonderful rolling shutter issue. “

only if you are panning….

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

https://blogs.creativecow.net/24640

[Gary Adcock]

[Jeremy Garchow] “How could it be a 4/3 and 16:9? Did you read my quote? It’s not 4:3. “

the IMAGER is 4 x 1/3 inches or 1.333in on the diagonal.

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

https://blogs.creativecow.net/24640

[Gary Adcock]

[Peter Corbett] “I’m trying to capture HD-SDI directly from the Varicam into a Kona LHe from material shot in 25P on the Varicam into FCP7. “

you need to step back and give system, Os and Software versions info,
are you using the Aja Kona 720p25 ProRes(Version) VFR setting?
if not what settings are you using?

you have confirmed that the camera is set to 60hrz and NOT 59.94 in the service menus
Camera frame rate is set to 25?

which video tap are you coming out of on the camera?

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

https://blogs.creativecow.net/24640

[Gary Adcock]

[Paul Wise] “I guess it has to be ProRes across the board?
“

Especially on a laptop.

While a desktop could handle DVCPROHD, the LongGOP mpeg stuff from the EX is never going to fly in realtime.

Sorry.

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

https://blogs.creativecow.net/24640

[Gary Adcock]

[Jonathan Marlow] ” I’m really just trying to find out if what I’m seeing is an inherent product of the conversion from my XL-2 “progressive” footage or if there is something else I could be doing (i.e. running a blanket de-interlace to the footage prior to upconverting, etc) to improve upon this.”

JM, the problem is that there is no secret sauce.

While there are things that can be done to minimize the issue, you said yourself that it looks good on your QC monitor. Computer displays are not designed to handle interlaced content, so IMHO the ringing found when interlaced material is upconverted varies from content to content. If it looks OK on your intended output device I am going to say its going to be OK.

De-interlacing the SD footage prior to conversion will help somewhat, but note that much of your fine detail will be lost. Note too that you are working at 4x the size of your original and zooming any footage that much will show artifacts, especially if you are trying to additionally enlarge the image to fill the HD’s 16×9 frame. If you do need to do that- you need to look into Teranex processing to maintain quality.

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

https://blogs.creativecow.net/24640

[Gary Adcock]

[Jonathan Marlow] ” All looked great on an HD QC monitor watching both the output and input rout. Now when I look at this on a computer display I see artifacting: “

So what are you asking?
that there will be fine detail loss when upconverting?
YES there will be issues, it is not a silver bullet when converting highly compressed content from SD to HD.

if your delivery is the web, why did you upcovert?

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

https://blogs.creativecow.net/24640

[Gary Adcock]

[Paul Wise] “Suddenly while editing a sports show requiring alot of quick edits, moving my timeline indicator can take up to 5 or 8 seconds before it can move to the point I’m trying to get in my timeline.”

Are you using firewire drives?
This delay is an indicator that you have something else on the same FW chain.

The IoHD can be the only thing on the FW buss.

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

https://blogs.creativecow.net/24640