[Matthew Williams]

This is about the only info out there I’ve found and I’m not finding that these options work either. With all the combinations listed above, I still have not been successful at recording any off-speed set-ups. 4K 23.98 Raw to Pro Res is fine… 2K 444 10 or 12-Bit to Pro Res 444 all work fine.

I’m trying to record 60fps @ 2K Pro Res 444 10 or 12-Bit. Has anyone found any other settings that can confirm this works? (It shows up in both Canon’s 4K Recorder Comparison Chart online, as well as AJA’s online manual that recording 60fps on the Ki Pro Quad in 2K with the C500 is possible).

C500:
Time Base 59.94
RGB 444 10 or 12 Bit
2048X1080
[60]/23.98

Ki Pro Quad:
3G-SDI 1 & 3G-SDI 2 Cables attached
Media Setting: 444 ProRes
SDI Out 1-2 RGB or YCbCr
SDI In 1-2 RGB or YCbCr

I get error messages, the Ki Pro Quad recorder flashes saying “Warning Invalid Selection” no matter what I do, or when it does record, I get the black image as reported above.

Thanks in advance…

Matthew Williams
Director of Photography
Film / Digital Cinematography
http://www.williamsdp.com

[Matthew Williams]

[walter biscardi] “Does the 130 flag the 23.98 frames or does it only record 59.94 with no User Bits? The 1200A also only records at 59.94 but it can flag the 24 frames with User Bits turned on for recapture at a later date.”

Walter…

I checked with my contacts at Panasonic and they told me that both machines (AJ-HD1200a or the AJ-HD130) will record and playback whatever is fed to them. That is, if you playback a tape recorded on the Varicam with flags, they both will play back the flags as they are part of the user bits. The VTR’s do not generate flags in the user bits, only record and play them back from a source, either tape or camera.

Matt

Matthew Williams
Film / HD Director of Photography
http://www.williamsdp.com

[Matthew Williams]

Thanks everyone for the input… let me get more specific, as I might not have been as clear as I should have been. Since I don’t have the 1200a HD deck, (and most of the workflow suggestions out there are based on that deck) and I know I don’t need that deck, my HD 130 deck is fine, but HD-SDI is the way I can bring in material through my Black Magic Card. From my knowledge and both responses so far, it’s clear that one can import footage in @ 23.98, 29.97 or 59.94 with either deck.

I always shoot @ 23.98 (24) on the Varicam for dramatic material… (unless it’s off speed footage) and I’ve been doing this for 4 years, so I’m already getting the “24 frame film look” from the footage. Since (so far my FCP experience has only involved bringing in off-speed footage for frame rate converting, and all that has been done @ 59.94 (again tape speed and timeline setting). What I’m asking is purely post related… what are the advantages of bringing the material in @ 23.98 vs. 59.94 (even though I shot @ 23.98 (24)). (Varicam on-board deck is set @ 59.94). Does it matter if I edit in a 23.98 timeline or a 59.94 timeline (the footage looks the same)… again this is purely a post question… not how to shoot the footage.

Here’s the question… If I’m not printing out to tape (DVCPRO HD only)… does 23.98 or 59.94 matter in any way? If I do print the sequence out to tape (DVCPRO HD), and want to go back to my HD 130 deck (which only records @ 59.94) do I have to edit in a 59.94 sequence (like I do for frame rate converting)… or can I still edit in a 23.98 sequence?

Thanks in advance for your time and for sharing your editing knowledge… Matt

(FYI… some background so you’ll know where I’m coming from… I am not new at HD production… and since all I do is shoot, (film DP 15 years, Varicam 4 years), I don’t spend a lot of time editing except for my reels. (When I’m involved in post for HD jobs I am there only for the color correction, not the editing, and most have been on an Avid anyway). So this is a small HD job for my own HD reel… nothing else… on my own system. I have shot over 50 HD commercial spots to date (including the HVX-200 trailer for Panasonic (which was finished in HD but I wasn’t involved in the on-line) and all others have been finished in SD (so I have the HD portable deck so anyone who wants to use my services doesn’t have to have the HD deck on the post end). I’ve also done 3 HD features… all to 35mm film out via SD off-line / HD Smoke on-line / 23.98 / D5, etc) and I understand all of those work flows).

Matthew Williams
Film / HD Director of Photography
http://www.williamsdp.com

[Matthew Williams]

Lars,

I just experienced a similar situation. I’m using G5 Dual 2.5 / OS X 10.3.8 / Decklink HD and I tried upgrading from v4.6 to v4.8 yesterday. When trying to capture 720p HD footage with either L&C or Batch Capture in FCP HD, it gave me the message that there was no video present and the system was waiting for timecode. Interestingly the deck was still controllable. I went back to v4.6 and all was fine.

Good luck…

Matt