Gary Adcock
Forum Replies Created
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[Paul Harb] “Whats with all the hostility????”
the hostility started with the “Nobody” response to your own request.
“This is a new workflow for me, so you might cut me a little slack…or not. “
The needs for FCP do not change because you choose to not follow them. FCP always wants 48k 24bit audio regardless of where the audio ( and or video) came from.
the Mixdown I was talking about is a render inside of FCP.
you are working with audio that is not in spec for real time playback. That means that it needs rendering to playout, gaps in the timeline mean that the render jumps to the next clip to begin rendering whether you have video or not. so the blank areas of your timeline are exacerbating the issue of your audio not being correct.
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, ILhttps://blogs.creativecow.net/24640
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[Peter Corbett] “are you saying the Ki pro can record say 720 50P out of the camera into the Ki Pro? I’m very intrested from a PAL 50hZ point of view”
By default the KiPro Records what ever signal that is sent by the camera or deck.
if you are capturing 720p50 the KiPro will record that signal.
Most varicams pad the frame rate to with extra frames {called pulldown} to achieve the SMPTE standard frame rate for your part of the world, if I shot 12 or 20FPS, the Varicam would add additional frames to the video stream to fill it out to have 50fps, its just that the KiPro cannot currently record those frame rates on the 50p standard, therefore the additional frames will need to be removed.
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, ILhttps://blogs.creativecow.net/24640
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[Paul Harb] ” I thought I did. The audio is a track NOT from camera, it is an AIFF that is 48k 16bit audio. “
Have you bothered to check to see that FCP wants 48K 24bit audio and that might have something to do with your problem?
that along with any gaps or empty spaces in your timeline can cause the audio drift you describe-
it’s a settings problem so try rendering a “mix down” for your audio, that will fix it until you edit the timeline.
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, ILhttps://blogs.creativecow.net/24640
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[Paul Harb] “Hoping someone else could chime in here, “
I did not respond because there is so much info missing to answer your question.
There is NO mention what kind of audio you are using and where did it come from?
what is your workflow, from camera into FCP
If you did, which app did you transcode with and which OS version is the camera on?gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, ILhttps://blogs.creativecow.net/24640
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[Jim Flores] “Is it possible to trim or cut up the Master source file or am I stuck with what was recorded?”
Physically trimming the file to make it smaller requires that it be re-rendered to remove the additional footage, same as if you captured to much to a tape.
you can sub-clip the content, but that would require that you keep the original file as is.
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, ILhttps://blogs.creativecow.net/24640
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[Adam Claude Jones] “”HD-SDI cable (RG59) with 75 ohm impedance. “
that is all you need to know, these cables are fine.
My HDSDI cables are flexible would not have it any other way.
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, ILhttps://blogs.creativecow.net/24640
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Most current BNC cables are 59a spec which is fine for HD production.
I have never seen any HDSDI ever really go 300 ft, I do not recommend anything over 150 ft.
You cant go wrong with Canaire or tec nec cables from Markertek.
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, ILhttps://blogs.creativecow.net/24640
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[Dennis Leppell] “I’ve been toying with the idea of building a small turntable rig that I can use to film 360’s on beauty shots of small products that we feature in our tv show.”
Find a potters wheel, the kind used for throwing pottery
they are very heavy and therefore stable, Most can be geared for fine control.
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, ILhttps://blogs.creativecow.net/24640
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[jennie stenhouse] “I want to take the HD-SDI out from a HD1400 deck playing back varicam tapes which were recorded at variable rates from 60fps through to 5 fps… Now my kipro firmware is the 1.1, I am really not sure where i am going wrong. “
OK
think of the VFR setting on the current KiPro firmware as “VFR Lite” Currently the 1.1 software only allows for the Capture of SMPTE frame the produce what are known as “varicam flags”SO while the setting on the KiPro SAY’s that it will capture “VFR”, the KiPro can only capture the standard frame rates of 23.98, 24, 25, 29.97, 30 and 50 without pulldown (59.94 and 60 have no pulldown when recorded as such)
I was told this was done to avoid confusion, but that would not be my view.
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, ILhttps://blogs.creativecow.net/24640
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[Daniel Schloss] “Then I tried to upcode a DV tape to 1080i.”
Can I assume that you are trying an upconversion? Upcode is not a term I have ever heard.
Tell us what are your settings?
Have you tried to do this outside of premier?
What are the exact OS and Software versions you are working with.
“Now in control panel everything is set the same but when I open Adobes capture window, select Kona AJA QT and looked at the set up it says the card is off-line and all is greyed out. AJA just sent a new card…samething. “
Set the same to what?
We need more complete info..
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, ILhttps://blogs.creativecow.net/24640