Kevin Hedin
Forum Replies Created
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Thanks for asking… Basically the problem has gone away a while back. Now, I’m not sure if that was due to upgrading Final Cut, or using Prores instead of DVCPRO, or updating AJA Kona drivers. But as least it went away….for now.
Kevin Hedin
Digital One, Inc.
Anchorage, AK -
Thanks for the quick response. It appears (now that I have read a few more posts) that AE is best with openGL off in most cases. Hopefully the OpenGL compatibility will improve in the future.
You just saved me $370 😎
Kevin Hedin
Digital One, Inc.
Anchorage, AK -
Wasting space? Well, lets just chalk this one up to personal preference then. I always recommend viewing/comparing your material on a large high-quality broadcast monitor where decisions like this can be properly made. For me, it’s HQ unless it’s a special case scenario. Besides, storage is cheap.
In regards to broadcast… unless your local area is still broadcasting commercials in SD and not HD, I’d say it’s totally worth it to make your masters the best they can be. Why would you give your clients any less?
Talk to the broadcasters in your area, and see if you can deliver an MPEG-Transport stream instead, so that it will play on their servers. This way you can avoid them having to re-compress your material.
Shane, where in FCP’s white papers does it say that HQ is exclusively for 2k, 4k? I’ve never heard that. If I recall correctly, ProRes422 and LT is recommended for news organizations, where content, not quality, is king.
*Sam, sorry for taking this thread slightly off-topic, but I hope all this information helps.
Kevin Hedin
Digital One, Inc.
Anchorage, AK -
I’m surprised at the responses here. Remember that DVCPROHD is NOT a full-raster codec, so for 720p, the DVCPROHD codec’s resolution is 960×720 instead of ProRes’s 1280×720. While your footage will not improve, your graphics WILL. Any text or logo or animation will have to conform to the codec on your sequence, and jaggies are much more apparent on graphics when dropped onto a DVCPROHD seq. This is an easy test to do yourself, and I think you will find that despite the storage hit, it’s well worth your time.
My personal preference, is to convert to ProresHQ on Ingest, this will save you time if you haven’t ingested yet. Otherwise, use compressor and be done with it.
My 2 cents.
Kevin
Kevin Hedin
Digital One, Inc.
Anchorage, AK -
I would like to second Dan’s post. I’m having the exact same issue. This issue only came up during my AJA Driver update to version 6.0. When I boot back into my old startup drive with the older AJA drivers, the problem goes away.
What I discovered is, if you switch the red and the blue cables coming out of the KL Box, it fixes the picture during pass-through, but then you have to switch it back when you simply outputting through your NLE.
Kevin Hedin
Digital One, Inc.
Anchorage, AK -
Francois, thank you for that information. I did just as you said, and it did fix part of the problem. AE Now displays the correct gamma on the computer screen and the “round tripping” works correctly, however, the output from my Kona is displaying an incorrect gamma while using video preview from within AE. I looked at the control panel for the Kona and played around with the “Codec Options”. I change the RGB-YUV conversion GAMMA from AUTO to REC 601 (2.20) which did solve the output to the monitor, but this is not intuitive. Working with HD Material, one would assume that the REC 709 is the proper Gamma but it did not work. Using Rec 601 is for SD but seems to display the gamma correctly for HD when using video preview in AE.
All seems fine for now, but I will report more when I test more.
Thanks again!
Kevin Hedin
Digital One, Inc.
Anchorage, AK -
Count me in. I’ve got the same problem as described in this post. Here are my specifics:
Powermac G5
OS 10.4.11
FCP 6.0.4
AE CS3
AJA KONA LHe
DVCPRO 720p24I’ll try running a test by converting the DVCPROHD footage to PRORES first then do a round trip….I’ll report back.
Kevin Hedin
Digital One, Inc. -
Might I suggest that anyone who is interested in keeping up with important NAB news or following each other as we graze the NAB floor, sign up for Twitter.com and then we can follow each other’s SMS messages. So if there is something that is a MUST-SEE, we can all be informed via Twitter. It’s really a great communication tool for events like this, and it was a hit at SXSW. Follow me at https://www.twitter.com/kevinhedin and I will in turn follow you. Don’t forget to sign up your cell phone with the service, to get updates as you roam about.
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I’ll be finishing my project to a HD video format with downconverts for SD broadcast.
I’ve just decided to transfer to 1080i. I feel more comfortable with that because it’s closest to 480i like I’m used to. Removing pulldowns with my Kona LH or Cinema Tools is a process I’ve done before successfully. I just don’t know enought about 720p as a recording format yet. If the camera flagged the extra frames that would be one thing, but this is a film transfer with no flagged frames.
I hope I’m doing the right thing. Thanks for the help.
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Ok, we’re getting close to the answer I need. So if I intend on editing native film frames (24p), then I shouldn’t have the transfer house lay it down as 720p60, correct? Because you can’t remove the pulldown during capture? Is this what your saying? What if I captured at the native videotape rate of 29.97 and used cinema tools to remove the pulldown? Will it work then? If its better to work with 1080i60 so that I can remove pulldown during capture, it sounds better, but I just want to make sure that I can’t do that with 720p60.
Thanks for your help
FCP 6
KONA LH
KONA IO