[Marco Solorio]

LOL, I’m definitely not expecting a better picture quality or resolution, but as mentioned, these are for long runs at about 75+ feet, so to ensure the digital transmission performs without a glitch, I want to *continue* using the best (1505a), or something better/equal in quality for less money. So yes, thank you for listing those out for me! Definitely good, detailed info there.

Definitely no old RG59 analog coax cables here to use for that purpose! We’ve always used quality stuff. The new facility will definitely continue in that tradition.

I’m going to check out the Canare L-4CFB cable. I’ve always liked their connectors. I appreciate the info, Bob

Marco Solorio | CreativeCow Host | OneRiver Media | Codec Resource Site | Cinesoft | Media Batch

[Marco Solorio]

[Bob Flood] “I am wondering if ProRez has made the Sheer codecs Obsolete? Have they stopped development?”

I’m surprised they’re not responding, maybe busy with pre-NAB stuff. But what I can say is… stay tuned for their next developments. Three words… Holy. Freaking. Cow.

Marco Solorio | CreativeCow Host | OneRiver Media | Codec Resource Site | Cinesoft | Media Batch

[Marco Solorio]

Hi Ty,

Thanks for the welcome. Although “welcome back” might be more in order, ha ha… I’ve haven’t visited the audio forum in a few years! :^o

During my initial search, I did run across the Sound Devices 702T actually. It’s still a bit large, but would obviously do the job and do it very well (weight and size aside).

One device I came across that is small enough and includes TC is the Zaxcom ZFR100, but only has one balanced channel input (lacks phantom power) and if you want two channels, you have to use an adapter and drops it down to line-level. So close but yet so far.

Thanks for your input,

Marco Solorio | CreativeCow Host | OneRiver Media | Codec Resource Site | Cinesoft | Media Batch

[Marco Solorio]

[Scott Robert] “Marco, Did you find a solution? Does that $48 card reader work?”

I wish… I haven’t found a solution that costs less than Sony’s reader but then again, I haven’t looked in the last few months (I gave up searching). The problem is that these cheap readers aren’t PCI-Express based which is key.

Marco Solorio | CreativeCow Host | OneRiver Media | Codec Resource Site | Cinesoft | Media Batch

[Marco Solorio]

This is covered in one of my older articles…

https://library.creativecow.net/articles/solorio_marco/interlacing_progressive_footage.php

Just go down to the section, “Convert to an Interlaced Format”.

Thanks,

Marco Solorio | CreativeCow Host | OneRiver Media | Codec Resource Site | Cinesoft | Media Batch

[Marco Solorio]

[Rasmus Mauritsen] “Guess this won’t work either?”

Probably not since it says, “For Express Card 34mm with USB controller”. It’s the USB part that makes it incompatible. But if it does work, let us know! Still wish there was a direct USB reader besides the Sony one. =(

Marco Solorio | CreativeCow Host | OneRiver Media | Codec Resource Site | Cinesoft | Media Batch

[Marco Solorio]

[Bruno Fraga] “I tried to conform 720/60p in Cinema Tools but it didn’t work, it created a folder but not the files, somebody could tell me the way to do that, please?”

Cinema Tools cannot conform (720p60) EX footage because of the long GOP structure; conforming it to a different frame-rate would mess up the i-frame cadence. If you need to conform 720p60 EX footage, you must first transcode the footage to another codec, like Uncompressed, ProRes, etc. Then you’ll be able to conform it. But as mentioned, shooting in 720p24 at S+Q 60 FPS is the ideal method, not just for better quality, but for instant playback of slo-mo footage.

Marco Solorio | CreativeCow Host | OneRiver Media | Codec Resource Site | Cinesoft | Media Batch

[Marco Solorio]

[Craig Seeman] “Note Marco seems to have been testing “extremes” as far as I can tell.”

Yes, this very important to know. I’m *just* testing the codec itself with synthesized sources, which doesn’t not account for any other conversions like RGB (from the imagers) to the Y’CbCr video format and such. And yes, as I mentioned, in most real-world scenarios, these compression artifacts I found wont be found in actual shot footage (but you’d be surprised at some of the stuff I found).

But one thing that wont change is the fact that under the same data-rate of 35 Mb/s, there is more compression in 1080 than 720. Whether or not you can see it may be a moot point, but it’s there.

Me? It depends on (A) the delivery format, (B) the type of production, (C) the type of action being shot or (D) a specific client request that may go against my recommendation of A B or C. :-p

Marco Solorio | CreativeCow Host | OneRiver Media | Codec Resource Site | Cinesoft | Media Batch

[Marco Solorio]

[Bruno Fraga] “Sorry about my fool doubt but what softwares that conform files?”

Cinema Tools by Apple.

https://www.apple.com/finalcutstudio/finalcutpro/cinematools.html

Marco Solorio | CreativeCow Host | OneRiver Media | Codec Resource Site | Cinesoft | Media Batch

[Marco Solorio]

Just to confirm that after running some tests a week or two ago on this subject, I did in fact get much larger files running 720p24 S+Q 60 FPS than running 720p60. Makes sense now, but for some reason, I thought the difference between the two was merely a flagging tag. Not at all so. So yeah, my slo-mo workflow is now officially changed! 😉 Luckily I hadn’t used the old workflow in a production environment! Gotta love new gear! =)

Besides, the immediate real-time slo-mo playback is very nice.

Marco Solorio | CreativeCow Host | OneRiver Media | Codec Resource Site | Cinesoft | Media Batch