Jim Wilcox
Forum Replies Created
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Darby,
Thanks for the reply. I am probably not explaining myself very well. The mortise frame is a logo with a hole in the middle. The video is actually a piece of 720p footage. By way of analogy say a camera starts out on the porthole of a ship, you don’t see the porthole frame but what is inside the cabin. As the camera moves back in z the porthole is seen then the side of the ship then the ship itself. But what is inside the cabin is not coplanar with the porthole. The practical problem is that i want to see most of the frame of the 720p footage thru the mortise and as the mortise is revealed in the camera move the footage anchor & scale can adjust to in effect remove the parallax of the move (because otherwise the we see the edge of the video frame) thru expressions that sample the angle relationship between the mortise and the camera at each frame, but sadly this is over my head. Clear as mud?
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Is there a spec sheet on what is updated?
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I assumed the additional control panel functions were not a good idea for Media 100 use, but I thought I would ask. The input audio levels are nominal level, look good on the board that is in line before the input stage of the aja card. Once in Media 100 the levels are nominal, its just at the output stage leaving the aja rackmount box the balanced XLR outputs are maybe 10db hot going to both analog betacam decks. I can adjust their record levels down to accommodate, but I was surprised to find that the output (of same bars/tone for example) would be so different between the HDx and the KL box. Don’t have a digital device to reference to.
I’ve one more nagging problem with this new system that I will post in a separate subject…not audio related.
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So, what did you do to the camera? We received our first 2000 in December with a dead pixel and sent it back to our reseller for replacement because the BB did not map it out.
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But converting back to DVCProHD is taking the 10bit AVC-I back to 8bit, which would be ashame. At least with ProRes HQ you keep the 10bit info.
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So, at this point there is really no other way to convert AVC-I for use in other NLEs? If you are cutting on another system besides FCP you’re SOL, yes?
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Scott,
I was working with imported P2 footage @ 720p/59.94. When I saw what was going on with the scopes I just created new programs in all possible formats and noted that progressive formats in either 720 or 1080 draw the scope in PAL. 1080i and SD are drawn in NTSC
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Look into this a bit more this morning and the scopes change to PAL for progressive only (720p,1080p) at any frame rate. the 720 gives me hash on the scope for every other line as well. Anyone?
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You might also check to make sure your work area selected isn’t less than 2 frames. If you accidently hit “b” and ‘n’ together it will set your in and out points of your work area to the same frame and then you would be asking AE to preview a 1 frame comp.
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Did some testing this morning with this issue. Rendering to ProRes HQ just gives me snow after M100 does a fast import. I have also done some tests with just a black frame with some AE generated text at both 1280×720 and 960×720 with not footage at all with the same results. I can play all this material at the desktop in QT without a problem. I can also import material into M100 by “import to media standard and codec’ and force the file to be completely rewritten.
Something about the header rewrite is not working for me. Any suggestions? Since we’re new to working in the HD frame sizes am I missing something really basic in setting up in AE? This is really killing me 🙁