[Joseph Owens]

SR can handle both 4:2:2 and 4:4:4 if the deck is optioned for Dual Link.
Otherwise, a standard deck is 4:2:2 YCbCr 10-bit 1920×1080.

Interestingly, SR will also support 720P.

jPo

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[Joseph Owens]

>Multiple layers?
Multicam clips?
Nesting?
Multi-level nesting?

Compositing inside FCP: Scaling/Distort/Cropping/Masking/Overlay modes? Does any of that make it into color? and back from color?

Speed effects seems to be sorted but can somebody actually test and confirm?

Boris Title3D; Livetype; Motion composited clips – what happens to those clips? Do they come back from color unscathed in the XML?

I’m speaking out of school as I don’t have the upgrade package yet, but from what I gather:

COLOR has always been able to do multiple layers, as long as they are independent media, not nested sequences.
They SAY Multicam clips.
I don’t know how they could support sequence nesting.
COLOR has always grabbed the last motion setting and put it up as a preview… then ignored it and rendered full frame without any settings… and then letting FCP screw it up when the aspect ratio gets converted on the return trip.
Speed? Don’t know. But beware of mixed base framerates, as always.
Generators should be ignored, but Motion decompressor as it resides in FCP may still be viewed as a foreign codec — the knock-on is that you may not be offered Original Format as a render option. In any event, anything with an alpha channel will have to come back in 4:4:4:4.

jPo

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[Joseph Owens]

My bet is that he’s getting a project in FC”S” 3, not FC “P” 3….

who is editing in FCP3 anymore: and, more importantly, FCS3 has been out for, what, a few hours? Where do these people get their software?

He’s editing in FCS2, os my bet is that he’ll either have to go the XML route, or upgrade.

jPo

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[Joseph Owens]

I have a similar thing, in that I was adding some colour to a text/glow. The colour disappears on render, and it doesn’t reappear when the project is rendered out as a QT.
However, it DOES come back if I use Compressor to create an mpg2 for authoring a DVD.

If I didn’t find this funny, I’d just go to the pub and get smashed.

jPo

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[Joseph Owens]

You need to “mono” the channels and push them left and right. Its in the Sequence settings dialogue, or in the Mixer tool.

jPo

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[Joseph Owens]

Frankly, I like LiveType a lot, as well… its single-character editing allows for very detailed kerning, and it updates very quickly back into Final Cut. and thats all I use it for, and I don’t like Boris, either.

Its a lot more like the first Inscriber which I loved dearly.

I do NOT use the Live fonts or any of the cheese animation gak…

I do not like Motion, not on a bus, nor a car, I think its spam, fond of Livetype I am.

jPo

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[Joseph Owens]

My Kona3 doesn’t support simultaneous frame rates in HD… If I set the FCP AV out to 23.98, of course this overrides the Kona and the A output is 23.98. I cannot set the B output to 29.97 unless its SD… kinda defeats the purpose.

jPo

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[Joseph Owens]

“So the Kona sends out a 2:2:2:4 signal? ”

Yes it sure does. Just to make sure I haven’t obfuscated…
What I have been trying to record to HDCamSR in 1080i29.97 is a 1080P23.98sF ProRes422HQ sequence.

Set the FCP AV setting to 1080i29.97 10-bit. Set the System Settings Playback control to 2:3, set the Kona3 to 2:3…. all of these get overridden and what goes out the HD-SDI line is 2:2:2:4 -you can step through the recorded video and that’s what it is. The RT dialog on the sequence only offers 2224 as well.

If I bake a 23.98 ProRes422 (not HQ), even on the same original sequence, the RT dialog suddenly decides that all the cadences are eligible, I simply re-insert to tape and it all works. I don’t have to change a thing, having all the appropriate settings now responding to the call for 2:3.

There is something wrong with HQ — I have also had the instance occur where a 1440×1080 ProRes422HQ sequence was interpreted as DVCPro50 whenever picture was passed over to the Kona3 card by Edit-to-tape or even in the KonaTV utility.

jPo

This IS my blog!

[Joseph Owens]

I wish it was that easy.
“You need to use a 23.98 sequence and let the Kona add the pulldown during video playback.”

I’m trying to output a 1080P23.98sF sequence to HDcamSR 1080i29.97

This still doesn’t work. I’m encountering the same issue. When you set the A/V settings to 29.97, indeed that’s what you get… but this overrides the Kona3, and K3 is forced to 2:2:2:4 cadence to 29.97 on either the A or B output. Also, the FCP Edit to Tape settings are all wrong and will not edit accurately.

I have attempted to set the 2:3 cadence in every dialogue in Final Cut, but it. does. not. work. period.

Yes, it is a ProRes HQ sequence, so I’m going to try stepping back to ProRes Plain Vanilla. If that works I will consider it a smoking gun. With the bullet still coming out of it.

jPo

This IS my blog!

[Joseph Owens]

Anything that has imbedded scopes makes me reluctant — and punching graphics into what you’re supposed to be grading makes me even more skeptical. Its the equivalent of dropping wasabi paste (or ketchup) onto your filet. Or maybe it just wasn’t Alberta Grade A to start with…. 😉

Glad to see that an LCD is at least perceptually starting to draw even with an old industrial-grade CRT.

Or is this “faint praise”?

I still can’t see a reason to replace my e-Cinema.

jPo

This IS my blog!