Matthew Romanis
Forum Replies Created
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I believe that the P2 card drivers only operate in 32bit mode. Try restarting the mac holding down the 3 and 2 keys simultaneously to start in 32bit mode. Hold down 6 and 4 to restart in 64 bit mode.
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Progressive formats do not work as well as interlaced formats when using things like twixtor. Frames comprised of two temporally different fields assist the programs in creating new frames as the motion shift per part of second is less.
I mentioned before, the Red 1 can shoot at a maximum of 120fps sub 2K, and the Epic can do 300fps sub 2K. -
I agree with Dave.
These tools will work better with interlaced material than progressive, but there is no substitute for high frame rate capture in the 1st place.
And I have had more luck using Twixtor than AE for the times I have had to use it.If you don’t require HD, or very high quality at all, then there are some interesting little compact cameras from Casio that can do 1000fps albeit at a lowly 224×56 frame size. 420fps is better at 224×186, and 210fps at 480×360. Check out https://www.casio-intl.com/dc/ex_fh20/hsmov/ to see some examples.
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Agreed, the ND filter wheel is the likely culprit.
Especially if it was not there a while later. -
Short answer……No.
Those kinds of frame rates are achieved with specialist cameras capable of frame rates above 500fps.
The Epic comes close at 300fps 2.2:1 sub frame.
The best the AF 100/101/102 can do is 60fps in NTSC mode, and 50fps in PAL. If you shoot interlaced 50i/60i then you can use something like Twixtor to create extra frames to achieve 75-100fps, but this is not always possible. -
To be honest, I don’t use it anymore (for various bug issues). I use compressor to H.264 after log and transfer to FCP to create proxies when I need them, which isn’t often any more. The individual clips have matching time code embedded, you just have to careful when re conforming as the H.264 files are a mix down of all 4 audio channels into 2, so there are some setting changes in sequence control to be aware of. Or you could just Transcode the P2 files minus ch 3+4 both for the offline and online.
I agree with you about the AVC Intra codec, and the look I can achieve from the HPX 3000. -
Shhh, can’t say that here……
I jest.
It’s unfortunate that this is the case.
My HPX 3000 would be fantastic rather than just great if there was embedded timecode based proxy support. -
Helicopter blades spin from 120-600rpm depending upon the size of chopper, length of blade, number of blades, and supersonic tip characteristics.
I’m led to believe an Apache at hover is spinning around 400-450 rpm.
Shutter speeds around the same value would need to be used. -
Yeah, that’s what I thought when I got the card. When we bought it we had to commit sight unseen, and then couldn’t believe that it was engineered that way with no firmware upgrade possible to remedy the problem.
The Dark Side kicks P2’s rear end all over town in this area. -
The thing to be aware of with this Proxy card is that there is no embedded time code that matches back to the main clips, only burn in time code. Each clip starts at 00:00:00:00.
I found an elaborate work around in final cut to get the offline process going, but it is very clumsy. If you have the time, something like Proxy Mill is easier to work with in a complete edit sense.