Larry Asbell
Forum Replies Created
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I suspect the problem is the case of the still being “too sharp” and during the move hard edge details are beating against the pixels. Very common problem, especially with scanned stills. Apply a little blur to the still original in Photoshop and you’ll get much better results.
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Thought I’d add what I know about fried FW ports. Anyone who knows otherwise please comment.
The stories I’ve heard have involved the 1200a deck. It’s commonly attributed to the fact that this deck was designed mistakenly with a 6 pin FW port rather than the 4 pin usually used on decks. The difference is the two conductors that provide power. Power for external devices on a deck connector serves no purpose but does allow for surges or shorts if connected while powered on. A workaround for this deck to protect against forgetting and plugging while powered — is to keep a special isolation cable attaced which does not pass thru the two power conductors. I got one and with it I plug hot all the time with no ill effects.
However I always give an extra look that the FW connector is not turned around the wrong way before I shove it home.
– Larry Asbell
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Would there a way to get the same results through capturing or processing the footage differently in the sequence? I ask because I can imagine having a mixed footage situation and wanting to just treat the 24p portion.
– Larry Asbell
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again with typos corrected:
I read in the promo copy for the BMD HDLink that it has an audio delay circuit to compensate for video delay when processing certain frame rates. I don’t see any mention that AJA’s Hi5 has this.
In actual practice, let’s say in monitoring the output of a Kona 3 card in editing, would there be any need for this? i.e. wouldn’t one set up the Kona 3 to output to the monitor a frame rate that wouldn’t require further processing?
Anyone have other reasons to prefer one of these two products over the other?
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I read in the promo copy for the BMD HDLink that it has and audio delay circuit to compensate for video delay when processing certain frame rates. I don’t see any mention that AJA’s Hi5 has this.
In actual practice, let’s in monitoring the output of a Kona 3 card in a editing setup, would there be any need for this? i.e. wouldn’t one set up the Kona 3 to output to the monitor a frame rate that wouldn’t require further processing?
Anyone other reasons to prefer one of these two products over the other?
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[walter biscardi] “Too cool! Essentially a Kona 3 in a box! “
Just what I was wondering. Then for a Mac tower user the Kona 3 is still the item? Is there anything that the I/O HD offers that a Kona 3 can’t do?
One thing is the HDMI in and out but that can be added outboard.
– Larry Asbell
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In Red 4, lots of options have been moved to a tabbed palette that can be kept open as you work. Under the Window menu, select Show Keyframe Palette. There is your “Keep Keyframe Time” checkbox.
By the way that “Hold Parameter Values” option is for a different purpose.
– Larry Asbell
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Maybe the problem is that the duration of a new composition is 1 sec. so that’s all that will play. To make it the right length, type your clips duration into the “Dur.” box in the Composite window. If you want all new compositions to be longer you can enter a longer time in Project Settings.
– Larry
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Went thru this myself. Go to the menu: Preview/Image/and select Update Source. I’m not sure whether static motion (Source) is the default or whether I threw it off. Your question makes me think it’s the default. I don’t get it.
Hope this helps.
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You’re Welcome. I wish there were more questions like yours on this forum. Maybe I could learn something.
– LA