Michael Allen
Forum Replies Created
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I agree with Christopher. I am getting over 180 mb/s with two internal drives striped together. I have edited a few projects with the ProRes 422 codec with no problem. I also have a caldigit 8 drive HD one and I am shure that many with tell you a hardware raid is much better, however if you are on a budget and want fast drives with wiill work with most codecs short of uncompressed, strip your internal drives and problem solved for free99. I do concur with Christopher
Mike
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Your simple color coded diagram helped me understand what’s going on with pulldown and why native is a better way to record 24p. Thank you so much for your help, this is all I wanted to know. I will feel much better about my workflow now when working with my new cameras and the LHi.
Mike
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What to you mean by this statement?
“Working NATIVE XDCAM is overrated, especially given the workflow you will have of delivering a DVD.”
What is difficult about “delivering a DVD” from XDCAM?
Mike
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Thanks you for answering. That is all I really needed to know. I will throw one more question at you. I there any advantage to shooting native over the 24p with pulldown as far as the look, quality, or any other relevant info pertaining to the two different flavors of 24p. My Kona and new Mac pro can capture both, and I do like the look I get when shooting 24p with my F350.
I guess one obvious answer to my question is shoot both and find out, I know. But, I trust your opinion and thought I might ask what you think.
Mike
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I was searching and found where you said that:
“it is my understanding that Avids do NOT support the 1080 true P workflow (ie: RED)
RED is about the only camera most people would ever use that generates a true “P” signal in 1080.”So I think you are going to tell me that the native 24p capture from my Z5u will be [ 1080psf 23.98 ProRes 422 ]
Still not sure what the 24p with pulldown added ProRes setup will be.
Mike
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Gary,
First, thanks for helping. Now I know it means Progressive Segmented Frame and I somewhat understand the principal. Forgive my ignorance, but let me ask you two specific questions. What I would like from you (if you don’t mind) is two ProRes 422 easy setup settings and perhaps a little more insight as to the difference between the settings if indeed they are different.
My Z5u will shoot 24p in two ways. One way is native 24p and the other is standard 24p where I think the camera is adding pull down (which I will admit that I am going to read a little more about here shortly) so it can be edited more easily by most systems. Is there a difference in the ProRes setup setting depending on which version of 24p that I am using?
In my corporate job I shoot XDCam HD with a Sony F350 and the settings are very easy to navigate and understand. However, the Z5u is new and because it shoots two different versions of 24p I am a little confused. Also, with XDCam HD I am not using the ProRes codec, so this is my first time figuring it out.
In conclusion, what is the easy ProRes setup for Native 24p to capture from a Z5u and what is the setup for shooting standard 24p (with pulldown added I think).
Thanks for all your help,
Mike
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Just to be clear. You are saying the XLR out of Kona to XLR in on KRK speakers in not the correct way run the audio. I guess there is no way to control volume level.
So should I get two XLR to 1/4 cables and hook them from my junction box to the Mackie 1202VLZ Pro. Then, should I come out Main XLR or Main 1/4 inch to the KRK speakers, I suspect 1/4 out but not sure. I should be able to get these cables at a local music store correct?
Mike
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Thanks for staying on top of this problem for me. The 4.3.2 “trail” install does seem to have stopped the crashing problem for the moment. I will talk to tech support today about the 4.3.3 update.
I will keep you informed as I learn more. Thank you very much for your help.
Mike
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Ok, just found this old post from Bob Zelin.
“as you realize now, you cannot use the MAC audio output to monitor your audio, you must use the XLR outputs from the Kona to do this.There are many many solutions to your problem, but the least expensive solution is to get a small Behringer Audio mixer, which will cost you anywhere between $80 – $300 dollars. Remember that the XLR outputs of the Kona must go into the 1/4″ TRS inputs of any inexpensive mixer from Behringer, Mackie, Yamaha, soundcraft, etc, so you can’t just use XLR mic cables that you have lying around. The Control Room Monitor outputs will be 1/4″ TRS outputs as well, so you will need these cables too, to go from the mixer out to your powered speakers.”
When I first wired the new system, I simply connected the XLR out to the KRK XLR in. Was this incorrect? I do have a Mackie 1202-VLZ Pro, will it do what I need. Bob mentioned a few things I did not understand.
Remember that the XLR outputs of the Kona must go into the 1/4″ TRS inputs of any inexpensive mixer from Behringer, Mackie, Yamaha, soundcraft, etc, so you can’t just use XLR mic cables that you have lying around. The Control Room Monitor outputs will be 1/4″ TRS outputs as well, so you will need these cables too, to go from the mixer out to your powered speakers.
What is TRS and why do I need to go from XLR type connectors to 1/4?
Can someone please explain this to me?
Mike
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They did contact me about attempting the 4.3.2 update trial version. No 4.3.2 patch available for some reason. I will respond when I find out if it works. Thanks for the help, I’m keeping my fingers crossed.
Mike