Gary Adcock
Forum Replies Created
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[walter biscardi] “[todd reid] “MOS = Mit out sound (without sound)”
That’s a new one on me. MOS for me is Man On Street as a Man on the Street interview. “
Todd,
the Acronym is known now as “Motor only Sound”.The origin is “Mit Out Sprechen/Sound” (without speech; German/English movie term for shot without dialog
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] “But wondering if you have tried it and help get informed the quality as i never record from composite signal with Kipro yet . “
Quality would depend on a number of factors, but my guess is
the comp signal is limited in resolution based on the camera but most likely less than 200 lines
your colorspace is also limited in Composite mode vs component.
https://en.wikipedia.org/wiki/Component_video#Component_versus_composite
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, ILhttps://blogs.creativecow.net/24640
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[Scott Davis] “but lighter in weight for when I am hauling it up and down all those stairs”
I would use a magliner© and scope out all the handicapped access, as that is where the elevators will be. It may take a little more time, but considerably less of your back.
Pack the cases tighter if you are the only one to handle it, I routinely remove all but the top and bottom foam padding then pack my gear in smaller boxes or padded wraps and fill the case. This method allows me more gear in a case that I know will get treated carefully under my supervision.
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, ILhttps://blogs.creativecow.net/24640
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[Scott Davis] “I have a portable edit system that I am looking for a good sized, wheeled, case to cart it around in. Pelican cases are awesome but really heavy. Is there any alternative that are just as good at protecting the gear but not so heavy?
“Do you want it to last?
Then buy the very best cases you can afford, the better the case the less damage the gear will receive.My racks all get custom cases that are heavier than pelicans. I carry the small stuff in pelican’s.
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 Schroeder] “here must be something IN the file or header that confuses FC / Mediamanager “
Peter if you read the rest of the thread it has to do with Apples internal code not understanding their own naming convention when the identifier (.mov) is in all caps as Jeremy stated.
Since Compressor and Episode do not seem to have this issue, just the Media Manager in FCP, it only takes a minor change in your workflow to have the files handled.
I chalk it up to one more reason not to ever use MM.
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, ILhttps://blogs.creativecow.net/24640
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[Andy Mees] “Thanks for taking the time to clarify … of course its the Spanish I feel sorry for 😉 “
Andy,
I know that Matty has a really good person in that he works with in Spain, so do not fret too much.
let me add that I always enjoy Matty’s commentary here, that he is a very good friend and if you really want to delve into the breadth of his knowledge, talk Audio…
gary
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 Berk] “What’s interesting is that I’ve never seen any sort of offset issue like this when laying off from the Autodesk boxes.”
hence the comment about the difference in price from Shane. With the Price difference there is traditionally a higher level of technical knowledge, so you understand what is happening when you have to do those kinds of conversions.
One of His issues is specific in DF vs NDF workflow and deliverables in FCP when using 23.98 NDF materials and delivering 29.97/ 60i DF content.
Since you ask most of these issues is not the Kona, but IMHO wholly within FCP and its obvious to people that work with the high level tools that those sorts of issues are treated with greater care when asking for the higher priced turnkey systems.
The other thing you need to think about is workflow- how many differing formats do you work in? It is not uncommon for some of us to have projects from differing sources, rasters and frame rates, something that is no so common in the higher end workflows were all content is conformed into the existing workflow pipeline.
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, ILhttps://blogs.creativecow.net/24640
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[denton adkinson] “I believe Thax is right about cg and the budget. It appears they used every tool in the book from an actual impact, to cg damage and damage removal. What a great spot. “
Yes there is a bunch of CG in that spot, but sorry guys that was shot created on Phantom high speed cameras with the trunk / rear end was selectively modified to crumple in a certain way by cutting away some of the support structures at critical points to allow the majority of the damage to be used with out having to build the entire car in CG.
Even the link to Andrew Kramers AE stuff says the more you get onset the better off you are.
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 Schroeder] “igot the same problem here “
I’m Sorry – what KiPro problem are you referring too?
I have connected 2 Kipro units together to get proxy versions from originals for awhile now without issue.If you are talking about Media Manager issues what do those have to do with the KiPro?
To do a machine to machine proxy conversion- you need the 1.1 software to record PRpx content.
Set both units accept TC via SDI/ RP188 then set the other unit to the same.
Set both units to “ARM” via TC/ REC Key.
Set up the receiver/ recording unit to the correct naming convention and to record video as PRpx
Connect both units with a HDSDI cable.
Hit play on the main unit and the recorder unit will automatically trigger and record the incoming signal as ProRes Proxy with the correct TC as originally recorded.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 Berk] ” I’m entirely new to the world of final cut pro and kona-> we’re a finishing house with flame and smoke.”
FYI – That would be the same Aja hardware in FCP since Autodesk is an Aja OEM.“This seems like quite a major issue”
I agree and I have not seen that issue in quite awhile and I layoff to SR multiple times on a weekly basis.
I see issues when I switch between PAL and NTSC frame rates, but not between different sequences with the same base settings.gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, ILhttps://blogs.creativecow.net/24640