Jason Prisk
Forum Replies Created
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No. It is set to mic w/phantom pwr.
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Thanks again for the input. I agree that there are restrictions with XDCAM, and I do not have this problem with other formats such as HDCAM because I typically convert them to ProRes before editing. Projects shot on the EX1/EX3 typically have a more limited budget and I need to get right to editing as quickly as possible.
To the point…Note that the problem is occurring ONLY in gradients that I ADD in Final Cut (fades in and out of black, primarily).
When I render them on an XDCAM timeline (ProRes as my Sequence Render Setting), there is banding. But when I take everything to an actual 10bit ProRes Sequence the fades look great.
Not worth spending any more time on, really. My original question was simply whether anyone could foresee problems stemming from this workflow.
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I do have my render setting to ProRes, but for some reason I still get nasty looking gradients–primarily on fades in and out of black.
Thanks for the input, Walter. Someday I want to see your place. I am in Stockbridge.
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I was using the Z1U as one of my sources. That camera does not have a 1080p option. Now that I have the EX1, I am doing most everything in 1080p.
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Alan,
Haven’t tried it specifically on a Sony player, but 1080i looks great on Bluray. We use the Samsung P1200 for display (trade shows, etc.). Use Encore for encoding, at least until the Apple engineers get back from their iPhone tour of duty and can get us Bluray capability in Studio Pro. Everything works great.
Jason
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I am no expert in this, as you can tell. However, I can assure you that it will capture component without a reference signal.
Be sure the breakout cable is seated properly in the card
Are you seeing the “genlock” problem in the capture window/fcp canvas–or just on the external monitors. In other words, are you sure it is not just a monitoring problem? Not having the proper settings in the AJA software AND in the fcp “Audio/Video Settings” can create these kind of issues in the external video signal.
Other than that, I will be of no help to you except by trial and error.
Jason
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You will probably find that high-end stock doesn’t match up to DV real well. Saturation and overall smoothness of the image will be better when shot on a higher dollar format such as Beta SP or especially HD formats. For something going to film, I think you may not be perfectly happy. For corporate promos or docs, it works great.
As far as cost goes… If it is a concern, you should probably stick with footage collections from digitaljuice.com, istockvideo.com, revostock.com or places like that. It is relatively inexpensive footage (especially Digital Juice), but alot of it is still pretty decent.
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Anyone know how effective these things are when shooting HD? Seems to me you would have moire issues unless you had it quite a distance behind the subject.
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Robert,
Haven’t used the Blackmagic convertor with a small field monitor, but it works great with a 1920×1200 LCD as a studio reference.
Unfortunately, Steve is right, none of us have the money to do everything we really want to do in the HD realm. We are all starting over and everything costs more. The good news is, when you watch your final product in HD, it’s all worth it!
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Bob,
Thank you for your response.
I am monitoring on a 24″ (1920×1200) LCD via the Blackmagic HDLINK HD/SDI-DVI convertor. Everything has been working beautifully for editing/monitoring 1080i in FCP.
My ONLY problem has been with capturing through the component inputs on the Kona card.
Took your gentle advice to heart and tried monitoring on an SD monitor via a downconvert to 525i. Nothing on the SD monitor from the Z1U pass-through OR FROM THE FCP TIMELINE!?!
I think it may be something with the breakout cable.
Tell me how wrong I am. I can take it.