John Heagy
Forum Replies Created
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Yes, mostly free run TC. Looking to record the 24/60 HD output from a 2700, 3100 or 3700 and really any other camera du jour with an HD-SDI out.
So if TC is always present, in the HD-SDI stream or via LTC, then the TC/Arm is a non-starter… literally.
Sounds like a Lanc remote with some sort of “yes I’m recording” feedback is in order. Ideally the feedback would come from the KiPro Mini and not the remote.
Thanks
John Heagy -
Your FCP capture and deck are set for 29.97? And your sure none of these tapes are 23.98?
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The difficulty with syncing a KiPro, or any digital stream via the RS-422 Sony Protocol, is the slew command that any Sony device will send in order to “bump” a deck into sync with another. The KiPro may very well ignore the slew command and therefore never synchronize. Now there is hope… if the initial play command is timed just right and the KiPro reports TC in sync, then the Sony device will not send a slew command and the edit will proceed. If Aja would allow for custom advance/delay settings it may be possible to tweak and sync on the initial play command.
John Heagy
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[Joseph Owens] ” I hate the ETT module with a passion and fury so purple that no colorist on earth will ever be able to fix it.”
I’m with you there Joseph!
It’s our number one request to Apple every year… fix realtime I/O!!
Unfortunately Apples sees realtime I/O as a technology that is on the decline. We all know how Apple deals with such technology…
Apple’s RS-422 approach is brute force, basically over polling in an attempt to get in sync. If FCP would use the sync signal available to them, via a Kona card for example, they would be dead on every time. The problem is that would require Apple to use Aja’s API which of course would not work on Black Magic etc…
What I hope happens, with the next release of FCP, is that Apple offers an I/O plug-in API so Aja or BM can write their own ETT and Capture plugins that can talk direct to the metal, including the Ref input.
Here’s hoping…
John Heagy
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Avid has been using Aja’s Zena (now Kona) card in the DS for years. Avid most likely wrote their own I/O via the SDK in that case.
John Heagy
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[Erick Stoll] “Can I still export out to XDCAM using “Current Setting” export? Or do I need to specifically choose 24p 720p XDCAM? Or should I even export to XDCAM, this being the case?
“Your camera footage is XDCAM 720p24… right? Then that is your Current setting and is what you’ll get from a current export.
Is your seg render setting set to Current or ProRes? If ProRes I’d export ProRes if Current then Current for export. What your post house prefers is what you should do… so ask them.
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[Rafael Amador] “This is 100% wrong.
Rendering to Prores (Intraframe) you will reduce the render time to a fraction.
Why the “Render to Prores” option exists for XDCAM and HDV exists if not?”Wow… 100% wrong. I guess that’s better than 50%… well maybe not.
You quoted it, so I assume you read it when I wrote: if the seq codec is ProRes than you will get ProRes. As I said in my earlier response… if that’s the case then export ProRes. We’re talking about export time here, I’m assuming his timeline is rendered.
His footage is XDCAM so there is no rendering if he does a Current Setting export. It will be a fast flatten only, no render required. Rendering to ProRes will take longer and gain nothing. Now if he does have some rendered elements, titles or effects – they will benefit from a ProRes export – again assuming he has the seq render and or codec set to ProRes… which goes back to my earlier advice.
If he has the seg codec and render set to XDCAM, then ProRes gains nothing. If this is the case, and he does have a lot of rendered elements, then he will have to change his seg settings to ProRes and re-render to gain improved quality on those elements.
Sometimes I wish I had your terse response abilities Rafael. Unfortunately the devil is always in the details.
John Heagy
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Federico is right… It’s always the stills.
What file format are they?
We’ve had good luck with .tifs You might want to try converting them all to .tif and relinking.
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[Erick Stoll] “. I have a plugin made by Calibrated… Does this have any bearing on your suggestion to output my sequence as XDCAM?”
No, it basically wraps the XDCAM media into QT “on the fly” instead of making new QT files like Log and Transfer. I’m a big Calibrated fan!
[Erick Stoll] “2. What’s the best way to export my sequence as XDCAM?”
Export via Quicktime Movie… and use “Current Settings” assuming your timeline is set to the XDCAM codec. If the seq codec is set to ProRes it will start a long render and you’ll end up with ProRes. Make sure Make self contained movie is selected.
[Erick Stoll] “3. I don’t need to worry about upresing to 1080p do I?”
Yes you do… like Wayne said, check with the post house. NEVER ASSUME ANYTHING!!!! Always better ask too many questions than not enough!
John Heagy
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[Erick Stoll] “XDCAM is my original codec and I intend to export to Pro Res HQ to deliver my film to a post house, where it will then be put on an HDCAM tape”
If your timeline codec is 720p24 XDCAM then you might as well export XDCAM. If it’s ProRes than export/render to ProRes. XDCAM is a FCP realtime codec, so you could output a flattened XDCAM movie direct. If your going to HDCam then you’ll need to up convert your 720p24 to 1080p24 which can be done on output via a Kona3. No gain going to ProRes unless required by whomever is doing the output to tape. No great loss rendering to ProRes, it’s just not necessary.
John Heagy