[Gary Adcock]

[Brian Wheeler] “but nothing seems to be helping. “

since you are being rather secretive about the exact workflow its hard to help

We cannot guess at what you are doing and if you do not walk us thru EVERYTHING we are flying blind.

what format and frame rate
what deck, how is it connected and how are you monitoring?

is the software and firmware on the card current, have you re-installed both to make sure.

The aja products do not need FCP to run. are you getting a clean signal out of the LHi without fcp open.

Have checked the manual?
did you call tech support.

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

https://blogs.creativecow.net/24640

[Gary Adcock]

[Brian Wheeler] “Specifically, the LHi and BETA SP deck don’t seem to be communicating color space effectively.”

how is the deck connected?
If analog, the Video out should be SMPTE not betacam.

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

https://blogs.creativecow.net/24640

[Gary Adcock]

[Filippo Guerra] ” i get a lot of compression noise on gradients… (a blue light on a black glass floor). “

yeah, nature of compression and soft gradients.

try something that is used in Print- by adding a small amount of noise to the image and the gradient will hold better. Since you are making the image smaller, the keep the level so that noise will not be visible in the final output.

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

https://blogs.creativecow.net/24640

[Gary Adcock]

[dan graetz] “Does anyone know if it’s possible to setup the KiPro to automatically trigger recording through the SDI input fed from a RED One?”

the RedOne does not generate the sync pulse in the same manner as other cameras for the kipro to see it.
however.

The Qtake HD software does allow for direct reading of RED’s file naming convention, pulldown removal to shooting frame rate and access to all the metadata including edge code over the 720p HDSDI connection.

” We’re dead keen to get this working as a video-village recorder with our RED camera packages. “
then look into QTAKE, it was designed as a Video assist tool and excels at those tasks.

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

https://blogs.creativecow.net/24640

[Gary Adcock]

[Michael Aranyshev] “Gary, are you seriously suggesting to cut a longform with the original footage from either RED One or D-21?”

Hell No.
I do mostly commercial and corporate work and I do have a couple of clients that insist on working natively at max rez. (one long before it was truly feasible on mac or linux)

“I get D-21 from s.two DFR. It is RAW in DPX wrapper. Robert Monaghan explicitly refused to support this format in either ARRIRAW Toolkit or Cineon/DPX Toolkit.”

That was nearly 2 years ago, according to the current release of the ARRIRaw Plug in.

S-Two makes a line of equipment that records ARRIRAW data from the ARRIFLEX D-21 cameras.
Currently, the image data is saved as specially encoded DPX Frames. While these frames are
legal DPX frames, the ARRIRAW image data needs to be decoded from these files. This Toolkit
provides a conversion tool that will generate a new set of ARI files from the S-Two DPX frames.
The STwoARRIConvert.app is located in the Applications/Glue Tools folder on your Macintosh. It
is installed long with the rest of the toolkit. To start the application, doubleclick on the
STwoARRIConvert icon.

I have used it a number of time without issue on the S.two Dmag system. I am going to be doing a project on the OB1 in a few weeks, but I do not expect any issues.

“How would you pull the 3,000 frames used in the trailer out of 180,000 that makes your film? What software?”

that trailer is the length of many of my projects

But Scratch, Baselight, Nucoda, Lustre, Pablo all have the ability to handle a properly conformed xml cut list this is done all the time and has been for a while now. Handling that I/O process is having, maintaining and continually updating the reel, camera, take, frame info on while it was being edited- it is not now and never been an “automated” process.

None of these tools are considered affordable by any stretch of ones imagination.

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

https://blogs.creativecow.net/24640

[Gary Adcock]

[Michael Aranyshev] “With ARRIRAW there is no such thing.”

have you worked with the current GlueTools ARRI plug in workflow that allows for direct playback of ARRIRaw inside of Quicktime. With R3D files you still need to have the the QT wrapper to open in QT.

ARRIRAW has been supported on the highend tools of awhile. I have worked in ARRIRAW as long as I have worked in R3D. The difference was there were not as many D21’s to work with.

The GlueTools ARRIRAW conform tool for FCP is even being updated for the Alexa release and will allow full control of the codec within FCP, and this is something that cannot be done with R3D files with out going into Color or out of FCP into another app.

I’m not saying one is better than the other, I like them both and I am lucky enough to friends with the key people in both camps. I do have extensive time working in RAW and I see advantages to both systems depending on your workflow and needs.

I am all about choices.

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

https://blogs.creativecow.net/24640

[Gary Adcock]

[Pat McGowan] “Are you guys fighting? “

just different points of view

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

https://blogs.creativecow.net/24640

[Gary Adcock]

[Michael Aranyshev] “ProRes is good for jobs ending up on video”

Look, that is a short sited look so then you have not properly worked in ProRes 4444.

[Michael Aranyshev] “If go to the big screen you’d want RAW. “

So what about Avatar being shot on Sony 950s? what about all of the films shot on Genesis, Viper, f35s….

95% of the RED stuff I see never makes it to the big screen anyway.

You seem to want to bash everything about this, and you keep speaking as if yours is the only point of view. I see things differently. I do NOT own either camera and I work on D21s, RED, Phantom and SI cameras often.

Its a tool nothing more.

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

https://blogs.creativecow.net/24640

[Gary Adcock]

[Michael Aranyshev] “R3D fits into the existing DPX workflow just fine.”
Never said that it didn’t.
But at the time that the originial D20 was announced and shipping Red was not yet a product so it was designed with the existing tools at hand. That world has changed in 5 years.

“Just calculate how long will it take to load 40TB of ARRIRAW’s to your grading suite array vs. how long will it take to load 4TB of R3D.”
I think a 10-1 difference between the Raw formats is a bit much, my numbers indicate the it is closer to a 3:1 size difference between the 2, but yes the older format is larger, but if we are talking Scratch, Nucoda, Baselight those tools are geared to be handling that much data regularly.

With tools from Stwo, Codex, Cilpster or Rave HD you take the ARRIRAW capture directly into the grading suite and use the device as ONLINE and there is no loading as you are accessing the material in the same manner as it was shot.

I am Acquisition Agnostic,

There is not just one way to do these workflows, but I am here at NAB and I see the buzz around Alexa and Epic ( which will be shown on Wed) I will be in the 3Ds room at the RedUser Event Wed because I was part of a Technology demo shoot with some of the first MX models that OffHollywood has.

Its all about the tools, and like many RED users, ARRIRAW users will have to suffer some pain somewhere but I am not worried.

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

https://blogs.creativecow.net/24640

[Gary Adcock]

[Michael Aranyshev] “If you’re after the picture quality it is Arri. If you want projects go faster through your shop it is currently RED One.”

I have to disagree Michael.
With the D-21 you are able to handle the RAW content output of the camera into a variety of devices, Stwo, Codex and Clipster with many of the finishing tools all handle ARRIRAW and with the GlueTools plugin on the Mac IMHO I believe the workflow to be simpler than handling R3D files for many people.
On the other hand, with the D21 there still exists a straight forward simple DPX or HDSR workflow for those people wanting to merge into existing workflows possible.

“There is a variety of software utilities making R3D workflow smooth. There isn’t much to help ARRIRAW. “
Commitment to a RAW workflow for ARRIRAW requires no more effort than working in R3Ds, are there more “roll your own tools” yes, thats because Arri made a choice before RED was released to fit into the known, existing workflows that were being used for tools at that level.

“Also R3D is relatively easy on storage but ARRIRAW needs truckloads of it. It is more expensive to shoot and post ARRIRAW. Very different markets. “

Storage is cheap- so skip that argument.

For someone that is committed to a RAW workflow I find no difference in the cost of handling R3Ds vs ARRIRAW

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

https://blogs.creativecow.net/24640