[Jason Jones]

Yeah, I thought of that, so I also tried Single clip. No difference.

But here’s what made the difference: if I removed the Dynamic Zoom, the clip rendered perfectly, baking in the speed change and reversal as desired. So this is an issue with Dynamic Zoom, apparently in combination with speed changes. Weird.

[Jason Jones]

Thanks so much, Glenn!

Unfortunately, when I tried the sequence you outline, I had the same result: I get no output from the newly composed tree. Once I paste the copied tree into the new comp, and disconnect the original Media>Output tree in that comp in order to connect the output to the end of the tree, I get no joy.

At this point (of course I’m on deadline!) I’d plunk down the entry fee for the standalone Fusion, and will do so if you think this will all become easier…

[Jason Jones]

Thanks, Michael! I’m used to doing all my audio in Logic, so hadn’t gotten to Fairlight yet, but yes, that makes perfect sense. Cheers!

[Jason Jones]

An update: both the missing Window Wire Frame and missing Eyedropper Tool were apparently related to a software problem with EU Control, the Avid Color control surface. I uninstalled that software, rebooted, and Resolve behaved normally.

[Jason Jones]

Hey David –

I have gotten the combination to work well together, you’ll be relieved to know, but it took some time to get the settings right. They are NOT intuitive, and frankly, poorly documented by both AJA and Canon. Here’s what worked for me. This is a combination of material directly from AJA along with a tech at Abel Cine:

“One important point to note is that for formats of 2K and below, the Ki Pro Quad Video out should be set to SDI 1 YCbCr or SDI 1-2 YCbCr (depending on whether the Video In is single or dual link) and not to RGB in order to avoid a Format Incompat error message on playback.
To restate: even if the video out of the C500 is RGB, the Ki Pro Quad Video Out needs to be set to YCbCr. If the Ki Pro Quad Video Out is not set as YCbCr, you will get a Format Incompat error message when playing back a clip.

We also found two important points in using the Ki Pro Quad with a C500:

– The first is that if you set the Ki Pro Quad Camera Data to C500 and set the C500 to a frame rate above 29.97, the record trigger from the C500 causes the Ki Pro Quad to alternate rapidly between Record and Stop. The Ki Pro Quad records a series of one or two frame clips instead of one continuous clip. This appears to be the problem you were seeing when recording 2Kp/50 clips. If you start the record directly from the Ki Pro Quad, the recording proceeds correctly. This issue is being investigated by engineering to determine if the issue can be addressed by a Ki Pro Quad firmware update.

– The second is that the C500 does not allow you to set Time Code for Record Run in 2K and 4K modes. The C500 only supports Free Run Time Code in 2K and 4K modes. The significance of this is that you cannot set the Ki Pro Quad to get Time Code from SDI RP188 and use TC/REC Key in the Arm Recording Config Menu to trigger recording.”

“Used two cables for 2K 59.94 – set the SDI In on the Ki Pro Quad to SDI 1-2 RGB – set the C500 to 2K mode – 12bit RGB – 59.94

Use one cable (unplug the second) for 4K at 23.98 / 29.97 – set the SDI in on the KPQ to SDI Raw 1-4 – set the C500 to 4K mode – Raw – 23.98 or 29.97”

Good luck!

J

[Jason Jones]

The 4K frame rate limitation has, I think, been widely understood. It was never my intention to record 4K at anything higher than 29.97.

[Jason Jones]

I was optimistic that this might be the problem! The file names were all camera-generated, so “_339C3071.tif” was a typical name. However, I just renamed to a more conventional naming, as in “Brescia_TL11116.tif” and got the same result …

[Jason Jones]

I’m using a Canon 1D C – there is a timecode track in the footage.

[Jason Jones]

Thanks for a very thoughtful reply – I agree with just about all your observations. The body made sense to me because I also shoot advertising stills, and it is in fact a remarkably good still camera – best 35mm format body I’ve over owned, with no shutter lag, and what, 12 ACTUAL RAW frames a second (I think it’s a bit more) with the buffer not filling for fifty or sixty or seventy frames?!? That’s how I shoot, not eleven frames at 3fps, and then chat with the talent while the camera does it’s business. So that’s been an unexpected positive surprise.

I can even live with the ergonomics and the audio connection, since I shoot everything to a Ki Pro Mini and what has become a decent-feeling rig, but yes, the 8-bit codec is a real, absolute drag.

I’m waiting to hear from the “resident engineer” here at Canon Canada to see what Canon Japan has to say about the delay. I’ll keep you posted.

Cheers!

[Jason Jones]

I’m in touch with the “resident engineer” here at Canon Canada, and he was supposed to speak to Canon Japan last evening regarding this issue, but I haven’t heard anything today. I will repost when I get any information about it – it IS a curious phenomenon, and one that should be at least taken into consideration by anybody thinking about using one of these as an A cam!

Cheers!