John Heagy
Forum Replies Created
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The best way to handle green screens is with multiple keys, minimum of two. Unless lit perfectly you’ll never get a perfect key with one keyed. first do an edge key that makes the edges look god. You may need a few of these. You then need an inside key. Do a hard key that covers the inside and erode/shrink it so it doesn’t affect the edges.
John
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If one does a 23.976 to 59.94i conversion via 3:2 then there is no pulldown done. 3:2 and pulldown both occur when converting from 24 to 59.94i which requires a very slight slowdown be done first. 24 with just 3:2 would be 60i
People commonly refer to 3:2 as 3:2 pulldown but pulldown is rarely done with the exception of feature films which are commonly shot at 24 thorough more are 23.976 as film is phased out.
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If you want the 60fps footage to play at 60fps yet still have the 24p look correct than your only real option is to edit in 60i. This would require that you convert your 24p to 60i by adding 3:2 and converting your 60p to 60i.
John
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Hi Bryson,
Thanks for the tip. We would probably be populating the log data via the API or directly mimicking what the API does. This would be a running log of each step’s success for a Front Porch archive. If possible we plan to keep Worker out of the process.
John
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We are moving away from Xsan/StorNext toward a NAS based infrastructure. Our facility is very large and does the full range of workflows, editing, massive HD-SDI ingest/playout, and very aggressive encoding.
We deploy Xsan volumes ourselves so we see Xsan as a DIY system which gives us choice as to which storage to use in any particular volume. So far our experience with NAS is much more ridged with the NAS “head/server” and storage being single vendor supplied. For us zfs has the potential of being the “DIY” platform which would allow more storage choices.
Some drawbacks of SAN are the dual connectivity required (ethernet and fiber) and the scale up limits after the initial volume is built. We also found that any maintenance that requires us to stop a volume also requires us to shut down every client. We have 130 clients! With a SAN, each client does the heavy filesystem work which is good for distributed performance but it’s very low level and means any volume can adversely affect the client/application.
With NAS, the filesystem is sustained by the NAS head/server and the client has a simple ethernet connection to it. The drawback is performance is limited to that single NAS head/server. Systems like Isilon and Harmonic get around this limit with a distributed proprietary filesystem where compute and storage are added together. You can get around that by deploying addition NAS head/servers but then that’s a new name space. We found zfs very good at scaling up as long as you build it with that in mine.
John
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No easy answer to testing and comparing cameras.
Here’s an example of an excellent testing program…
https://www.zacuto.com/the-great-camera-shootout-2011
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You can make a playlist in the Ki Pro Web interface that may meet your need.
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Thanks Dougal, should have found that one myself. Must not have scrolled down far enough to see it.
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I wouldn’t think the current ProRes QT codec could write into an mxf wrapper.
Avid uses a separate Apple supplied and licensed ProRes library to roll their own mxf. Same a EVS, Vantage, and many of the PC based asset managers that support ProRes encode.
It is possible the new Pro Codec release supports this or lays the framework. I’ll believe it when I see it.
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[Oliver Peters] “there’s no reason not to offer MXF-wrapped ProRes files now”
Apple would have to bless it first like they did for Avid.
John