Kevin Cannon
Forum Replies Created
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If you saved the HDMI backplate from the Decklink, you can unscrew the hdmi cable and use it. As far as a spare door, you can buy them on eBay.
I never prettied it up, it ended up out of client view…
KC
prehistoricdigital.com
hardworkingpixels.com -
[Sean Kapleton] “1) I want to integrate the Panny Plasma now but was hoping to avoid having to buy the $500 BMD converter box to go SDI>HDMI – I believe the problem is that the HDMI add on for the Decklink will not fit because of all the cards I have in? I was under the impression that a work-around might be possible but please if anyone has suggestions let me know.
“Here’s one option https://forums.creativecow.net/thread/277/1940#1940
KC
prehistoricdigital.com
hardworkingpixels.com -
Well your needs seem very similar to what we were trying to outfit (we’ll have a 130″ diagonal, decided that 2K was a minimum, and that DCI colors will increasingly come in handy). Here’s what we found:
The JVC-DLA RS60U is the best “home theater” or “low budget” 3D Rec. 709 projector we found. They claim it is approaching DCI minimums, it’s cool, quiet, and small. It’s in the $10,000-$12,000 range. Downsides are 1080p, non-standard chip and lamp for Digital Cinema, possibly less stable colors…
After that you jump up to the projectors by Christie, Barco, Projection Design, Digital Projection, starting some four times more expensive than the JVC. The standouts in this range as we saw them were:
Christie 2210 – 2K and DCI colors, pretty compact and fairly cool-running on a low-wattage lamp. This is capable of using in-front-of-lens 3D tech, but has no room for behind-the-lens 3D upgrade. The dimmest available 2K projector in the Christie line. Xenon lamp (I believe a minimum of 2Kw)
Barco DP2K-P – also 2K and DCI colors, but less compact and with room for a behind-the-lens 3D upgrade. It also starts with larger chips, so they can be swapped out for a 4K light engine. Xenon lamp (minimum of 1.2K).
Projection Design Cineo35 – A smaller projector with an odd 2.5K resolution, DCI colors, but non-standard chips and LED lamp. Not yet available when I spoke to their engineers. I think these need to be paired to provide stereo. I’ll need to see it to believe…
There are a number of options that might be more appealing to you that we eliminated because we considered 2K above stereo, such as the Digital Projection Titan Reference 1080p 3D and the Christie HD3K with 3D upgrade…
If you get up to the 1.2Kw or 2Kw Xenon lamps, reducing light output will be necessary on a screen as small as yours (or mine). Unless you always work in stereo…
KC
prehistoricdigital.com
hardworkingpixels.com -
I don’t have much experience yet, having not yet received the projector we settled on, but I learned a good deal while researching it and talking to the manufacturers. Are you looking at 1080p, 2K or 4K? Rec.709 gamut or DCI and beyond? How large is your screen?
prehistoricdigital.com
hardworkingpixels.com -
I have used the MC Color with Color and the Tangent with Resolve… I liked the feel and quality of the MC Color more, but never felt that the tangent was lacking, so when MC color support came out, I never switched back. They’re very close in all fairness…
prehistoricdigital.com
hardworkingpixels.com -
Weisscam HS-2 was what I looked at in a similar situation. Easier, not necessarily less expensive, but I was able to get everything working in about 15 minutes of prep… no need for a dedicated tech or computer. Which I guess could make it cheaper. Speed range is dependent on resolution, but I think you’d have no trouble in HD going over 500fps.
In LA Clairmont camera has them, not sure about availability elsewhere.
Cheers,
KC
prehistoricdigital.com
hardworkingpixels.com -
Definitely ask their workflow… FCP users more often transcode all the footage to ProRes and add timecode in the process (doing log and transfer or similar) but Avid users have the option (not sure exactly what they do) of assigning timecode that will be reflected in the EDL but doesn’t actually change the metadata of the media…
If there are mostly straight cuts, you could have them provide you with a preconformed master. If it’s more complicated, you could have them include filenames in the comments (hopefully no identical filenames across three cameras) and be sure their EDLs use right timecode, then you’ll have a unique reel # for each clip but overlapping timecode…
KC
prehistoricdigital.com
hardworkingpixels.com -
You have to set to 1080p in both the video monitoring section of the config tab>project tab as well as the timeline-specific format tab>output tab>output format section…
That works over here at least.
KC
prehistoricdigital.com
hardworkingpixels.com -
You can set the timeline to 4K in the config page and that should give you all 4 of the Ks, then go to the format tab and change the output to 1920×1080 and it will scale it to fit into the monitoring. You’ll have to change output back to 2K or 4K before rendering.
I’d be curious to know your specs and performance though, as the 4K Decklink is on its way, it would be good to know where the other bottlenecks might be…
KC
prehistoricdigital.com
hardworkingpixels.com -
Hey Dave,
I’m not 100% on any of this so I’m hoping that somebody will step in and correct me if I’m wrong.
The “playback frame rate” is one of those settings that you would almost never change – it will change the speed of playback regardless of the timeline and timecode and conform. Maybe you need to review some VFX at half speed, for example… or you have a legal review and they want to slow down to catch logos and text or such…
The “Timeline Conform Options” setting “timecode calculated at: 24/25/30/? FPS” is the setting that is crucial to have correct for your clips that you are bringing into the master session, and I believe it dictates your options at rendering. I almost exclusively use 24 fps in this setting, and so my options at render are 23.98fps and 24fps.
Those two are controlling the Resolve software, the “video monitoring format” is what sets the Decklink, and should usually be set to the same frame rate that your clips were shot. If it is not set correctly you might get no picture, or lose audio sync, or similar.
In the case of footage that was shot at 23.976fps, I usually have playback speed at 24, timeline conform at 24, and monitoring set to 23.98 (which I think is just shorthand and Resolve will always use 23.976 for the math). Not as sure about Phantom footage, but I imagine the operator can set it to write 23.98/24/25/etc timecode regardless of the record speed… but I’ve only received Phantom footage baked…
KC
prehistoricdigital.com
hardworkingpixels.com