[Gary Adcock]

[Jaap van Hoewijk] “I did not know HD Cam was 8bit 3:1:1. So what would be the best setting to capture HD CAM? “

I find that for most people the ProRes or ProResLT versions work fine for HD or SD output from 8bit camera masters, like those you get from those HDCam/ EX / XDCam originals.

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

https://blogs.creativecow.net/24640

https://library.creativecow.net/articles/adcock_gary/AJAIOHD.php

[Gary Adcock]

[Jaap van Hoewijk] “What would the the best setting to import HDCAM footage? Prores 422? Or Prores 422HS? 444? “

You gain absolutely nothing by capturing 8bit (yes HDCam is 8bit 3:1:1) content to ProRes HQ.

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

https://blogs.creativecow.net/24640

https://library.creativecow.net/articles/adcock_gary/AJAIOHD.php

[Gary Adcock]

[Adam Claude Jones] ” I should use ProRes 422 HQ to capture the 10 bit 4:2:2 1080p footage for green screen”

Direct from the camera -correct.

“Somebody also suggested Motion JPEG saying if i don’t want to go full uncompressed “

I would not, since you will loose all of the RTX functionality in Final Cut if you use M jpeg, since that is a very old codec (and can be 8 bit or less at higher compression ratios)

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

https://blogs.creativecow.net/24640

https://library.creativecow.net/articles/adcock_gary/AJAIOHD.php

[Gary Adcock]

[Steve West] ” it has a “tearing” on top edge of the video portion- where it hits the letterbox. “

on a TV Monitor or in your computer screen?

that is the VANC info and it is usually cropped off when played on a TV -since most set are set to underscan

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

https://blogs.creativecow.net/24640

https://library.creativecow.net/articles/adcock_gary/AJAIOHD.php

[Gary Adcock]

[Timor Kardum] “I want to pass through my dual link signal coming from a nvidia quadro fx sdi card to get a single link signal which i can feed my ultrascope with. The quadro is in the very same machine. “

Sorry it is my understanding that is not the way the card and software is designed to work in dual link mode. Thats just way too much data to not have the process controlling the machine.

Yes I understand that you are only using the card to pass data thru, but it is still handling a dual link 444 signal and I do not know of a capture utility that can run in the background in that manner.

I am going to assume that you know you are not getting a proper look on any scope with Dual Link RGB 444 concatenated down to a 422 YUV signal.

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

https://blogs.creativecow.net/24640

https://library.creativecow.net/articles/adcock_gary/AJAIOHD.php

[Gary Adcock]

[Arthur Aldrich] “Anyone know if there is a way to set the default audio input on Kona3 with Kbox to be the xlr input? “

art

those are AES connections not Analog XLR’s

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

https://blogs.creativecow.net/24640

https://library.creativecow.net/articles/adcock_gary/AJAIOHD.php

[Gary Adcock]

[Adam Claude Jones] “Well, first I would like to start by thanking both of you for your input.”

You are most welcome.
I would also like to say your comments were very well stated, I thank you for those also.

One correction on my part, my production manager told me that I have only done 26 film related projects in the last 45 days, not the 50 I claimed yesterday, so my experience was mis-stated and I stand corrected.

“But there’s just one thing though. The footage is green screen which means before it even comes into FCP is needs to be keyed and composited,”

Every workflow is different, I have not had the issues with Shake that you refer to. I have had no issues handling ProRes/HQ materials in Shake.

I agree about your comment not to output to ProRes from Shake and the DPX > ProRes route can bring up gamma issues on some machines.

The simple rule is to keep as much of your content in the same format and frame rate as possible, VFX workflows are often completely separate from post and require managing them as a complete entity unto itself, then handling the conversion after that element is finalized.

[Adam Claude Jones] “So they should probably be either converted to ProRes 422 right away or to DPX depending on what is done for the green screen stuff? “

Once again, the DPX output I am referring to is only for use if that format is required (preferred) for the film scanner to be used. DPX files can be a huge encumbrance when people are not prepared for that level of data (about 30% larger file sizes than 10bit uncompressed)

These questions need to be answered BEFORE you go into Production or Post.
I am not able to decide what your workflow is from a few questions here on the cow. You will need to make your own choices as to how this production will handle files from different sources.

(note: that my company specializes in designing and de-bugging workflows of this nature)

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

https://blogs.creativecow.net/24640

https://library.creativecow.net/articles/adcock_gary/AJAIOHD.php

[Gary Adcock]

[Andrew Kimery] “I haven’t done a side by side test but you should be able to manipulate HQ more, but I think your limitation is going to be the source footage and not the difference between ProRes and ProRes HQ. “

I have Andrew and I could not agree more

from 8 bit originals the only issue becomes generational. (ie: the more times it is re-encoded after renders) when you are talking about ProRes vs HQ.

I only use HQ in 3 instances.
a) Recording a Live signal direct from the camera (not previously recorded material)
b) Transcoding footage from certain cameras that record at 444 10bit or Higher
***RED, Phantom, ARRI(D21,Alexa), f35(S-log only), SI-2K and of course Film originals***

c) Projects that start in the manner above I know are going to Filmouts (not HD DI, Not HDcamSR, real honest filmout usage only.

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

https://blogs.creativecow.net/24640

https://library.creativecow.net/articles/adcock_gary/AJAIOHD.php

[Gary Adcock]

Rafael
How many film outs have you done? This is an area where I make my living- handling just this type of issues on the high-end, I only give out information based on my own knowledge and experience , not on material I have read on or based on someone else’s work.

[Rafael Amador] “What I say is that is better keep 444 than HQ”

Transcoding to a different version of the codec can cause compression errors – and rendering to ProRes 4444 will not gain any extra bit depth not even from color- then Transcoding to 4444 then to another output is a adding an extra step to the process.

Once again, in filmout workflow, this is a needless and unwarranted step- go straight to DPX (since DPX are up to 12bit from Color and 16bit in the film world – nothing is lost).

“Or do you recommends down-sampling? “
What down sampling are you referring to? Adam is starting with 10bit master recording from the camera , and I have never talked about downsampling anything – are you saying that Color can output a 32bit file? it cannot,
“Up to your Prores papers, Adan should be capturing in Prores SQ. Is you who always say that Prores HQ is only for 2K. Isn’t it? “

if you have actually read the article you would see that I have never said that – what I did say was there is no advantage for most users to transcode to ProRes HQ from previously captured camera files on any camera that is not capable of shooting/ recording more than 10bit data- and all of those cameras are capable of more that 1080 acquisition.

Capturing directly from the camera via HDSDI is different, since there is no camera compression going on.

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

https://blogs.creativecow.net/24640

https://library.creativecow.net/articles/adcock_gary/AJAIOHD.php

[Gary Adcock]

[Rafael Amador] “To be accurate my experience with Prores 444 is just three weeks, but I work in this business since 26 tears ago.”

I am not questioning how long you have been in the Video Business.

I do question your knowledge of the ProRes 4444 codec and workflow you are communicating about with a scant 3 weeks of practical knowledge of the 4444 codec. In that time exactly how many filmouts have you done?

In the last month I have been part of 4 projects (not DI or tape – real 35mm filmouts) from ProRes masters and I had 3 different workflows- your methodology ended up being the most troublesome for both the editors and the Lab.

“Coming from 10b Unc, DPX or Cineon makes no sense. “

Then you do not understand the filmout process as it works for this type of delivery. I will re-iterate “[gary adcock] “IF you want the highest quality go directly to DPX from Color not back into ProRes”

A frame based DPX output from Apple’s Color is part of the App’s original operation and design and if Adam is going to a file based output device why not? – since these systems are most likely Linux or windows based OS’s and likely not able to handle ProRes content natively.

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

https://blogs.creativecow.net/24640

https://library.creativecow.net/articles/adcock_gary/AJAIOHD.php