Joseph Owens
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COW Coins
16
DaVinci Coins
Forum Replies Created
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Preview display from the Canvas was unaffected — it was the Edit to Tape subroutine that got lost in DVCPro-land, which was what really threw me. You could see it switch as ETT booted up.
jPo
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You’ve got to think that’s what it is, since rendering the 1440 QT out at 1920 (only change) was what fixed it.
jkPo
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Brian Rutz (AJA desktop products) is a long-time former colleague of mine and I’ve never heard a distortion, justification, or obfuscation from him in the 23 years that I have known him.
Problem? RMA it.Sitting in a P2 conference two weeks ago, somebody in the audience asked for contrasting opinions between AJA and BlackMagic. The moderator tore BM “a new one”…. No return policies, sketchy support, incomplete implementations… which might never materialize… vague documentation, the list went on and on.
I will say that I have had maybe one too many little nagging problems with the K3 breakout box and I think the company may have a build issue with that product. Its kind of a nightmare inside, physically.
But as a company and as a technology/software leader, they seem to really “get it”.
jPo
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NO, nothing ever got resolved.
My sense is that there is something missing in the SONY VTR protocol that hasn’t taken the PVW-series into consideration. There are some rules about what is allowable between ASSEMBLE/INSERT modes as it doesn’t really behave the same way as a BVW-75 would.
Oh, well, I should have anticipated there would be problems sending a boy to do a man’s work.
jPo
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SMPTE 3:2 film xfred to 29.97 isn’t about extra “frames”, its about extra “fields” distributed so that 4 goes into 5 with no remainder. If film were shot at 30, we wouldn’t have this problem and every frame would be an “A” frame. But we’ve got this ABCD cadence. Where A is the first frame occupying two frames and corresponds to a real 29.97 “frame”. The next frame is a “B” which occupies 3 fields, in other words 1-and-a-half video frames. The real nasty one, the “C” frame, consists of two video fields, “straddling” the third and fourth video frames, and the “D” brings us back to “Doh” by filling the last three fields of the 10 field sequence by straddling the fourth and fifth video frames. So the only way you could get a nice de-interlaced, jitter free still would be on either video frames 1,2, or 5, since they are uniformly and interlaced A, B, or D frames. Editing on a “C” frame is the killer, because that video frame will either contain a field of the B or D frame. Now do you get where the problems might start adding up?
About 10 years ago, I got a look at one of the first plasmas, brought into a post house on spec/demo.
The sales guys asked us to put up some footage to demonstrate how fantastic the new pictures were, and… oops. First tape was a (protection clone) master of a nationally broadcast show, which jumped and showed jumbled fields at every edit. The reason? 3:2 pulldown. The show was shot super16, xfrd at 23.98 A-Frame to 29.97 and cut in 29.97, just like everything else was up until recently. So of course the cadence was totally hooped. An editor has about a 1 in five chance of getting it right, technically, but they edit for story NOT frame numbers. So it was a bit of a surprise for all concerned that what had passed an international QA was generating all this garbage. Of course the plasma could not possibly be at fault — it was brand new of course.
Generally speaking, anything shot 23.98 should be edited at 23.98 and then streamed out all in one piece so that the cadence is correct and uninterrupted throughout the media. This is only logical, from an engineering standpoint. There are other examples of flawed thinking, for example, sending out 23.98 footage on 29.97 tape “dailies” for editorial. That one just boggles my mind. Why don’t you just shoot yourself in BOTH feet?
Now that we have so many flavours of 3:2 cadence, the issues have become much more complicated, of course. Not that I am particularly fond of AP, but it is rather clever and lends itself to a very neat redundancy removal algorithm. But apps like Shake can’t deal with it because it is only able to recognize SMPTE 5:4 spread 3:2:3:2, or 2:3:2:3 if it was A-Frame. So, like all kluge fixes, you should either deal with it at the source, or prepare for pain.
jPo
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A turbulation node in SHAKE.
jPo
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Where would it be covered when…???
Doing an HDCamSR layback with all 12 channels of audio. Channels 1-6: discrete 5.1 surround, 7,8: Stereo, 9,10: M&E, 11,12: bilingual Mono Described Video.
Channels 1-6, 11 and 12 should be mono, I expect. Channels 7, 8 and 9, 10 should be stereo pairs, am I on the right track, so to speak?
Now, when you stack the trax, over a certain number, you will get a red render bar in the audio sequence… Know how to fix this?
jPo
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I’m beginning to wonder if I’ve made the same mistake…. but
I have installed the MCE bluray drive in my G5 PowerPC and it seemed to go in fine. I had the same issue with the HD-BD plugin installation key not being supplied, but it was emailed to me within 24 hours of complaint. I haven’t tried burning anything to it but it does seem happy in the system. I replaced the original SuperDrive, and so used the bluray to install the software which, aside from the missing key for the plugin, went fine.
I will be holding my breath all the way on first burn! At $22+ per disc, it doesn’t allow for many mistakes!
jPo
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I’d be curious to know what HBO and HDNet think about that.
Networks that actually reject things…. you know…
jPo
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The deck is 2 doors, and 150 feet from the FCP keyboard. I’m probably not going to cover the distance in 3 seconds, not that any of the panel buttons will respond while the deck is in remote, anyway.
I’m Kona3 only, no Io.
Not many decks in the mix, the HDCam5500 does everything I ask it to… mostly the Beta SP requirement is a bit like the old VHS dubs that I used to do… so this is not going to break my business, but it would be nice if it worked.
jPo