Michael Palmer
Forum Replies Created
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IMHO The 35Mbps codec is a perfect proxy and hard drives are cheap. The EX Codec is extremely easy to learn for whatever NLE you choose.
If your production is only using the EX codec then make sure to duplicate all media on separate hard drives each day, and store them in separate places. As I said hard drive are cheap and re-shooting isn’t.
I would also record at the highest bit rate (220Mbps) possible with the KiPro and this is where you will need even more drives and rated compact flash media cards. One way to cut down on drive space is to delete bad takes and perhaps a script person can highlight the main selects and the director can run though the dailies and help delete unusable takes.
If I had my way the KiPro media would be duplicated on 2 separate drives and the EX codec on another for a fail safe workflow.
Good Luck
Michael Palmer -
If you are going for a film out you really want to record with a 10 bit recorder, AJA makes the KiPro Mini. YOu can use the EX Codec for offline editing. But don’t even consider the EX Codec for a film out project unless this is all that is possible in your budget. Don’t worry about the rewrapping mp4 right now worry about the bigger picture of recording as close to uncompressed as possible.
Convergent Design has the Gemini coming out in August, and it will record completely uncompressed HD 4:4:4 RGB that the F3 will soon deliver.
Good Luck
Michael Palmer -
I just took delivery of my F3 and I can’t wait for the upgraded firmware, and my friends from Convergent Design are working hard to make the Gemini 4:4:4 the best digital recording solution for the F3. S-Log will be a great new adventure.
Good Luck
Michael Palmer -
“Are you saying the S-Log and Dual Link options are bundled together, but can operate exclusively?”
Yes
8 bit won’t capture enough data so no SxS for S-log
Good Luck
Michael Palmer -
The S-Log feature will be available with the dual link firmware option. I believe it works with single link 4:2:2 also and it will require a 10 bit recorder to take advantage of S-Log.
Good Luck
Michael Palmer -
Tony,
Is the monitor you are trying to connect to digital or analogue?
From what you stated I’m sure you don’t have a clue. RCA connecters are analogue, BNC can be both digital or analogue. Digital uses a BNC (SDI=Serial Digital Interface) or HDMI (High Def Media Interface) connecter.
What I believe you need to do is look at the setting on the camera for display output and send an analogue signal (Composite Out) to your monitor. Composite is the yellow RCA connector.
Good Luck
Michael Palmer -
If you have a computer with a proper I/O you could record directly to a hard drive. I can use my Matrox MXO with either of my Mac’s, decktop or laptop and FCP for capturing to the codec of my choice, or even uncompressed.
I just purchase the F3 and it come this Tuesday.
Good Luck
Michael Palmer -
The T in T-stop stands for transmission. Transmission of light.
F-stops are not a true measure of light transmission of the lens and that is why John said you maybe slightly underexposing using F-stops.
I think it would be fair to say that t-stops vary to about a half stop faster than f-stops in general and proper exposure to one person may differ with the next.Good Luck
Michael Palmer -
The HPX has a native 100 Mbps all i-frame 4:2:2 codec and the EX has a a native 35 Mbps Long-GOP compression 4:2:0 codec. I have used both camera for green screen and I believe the HPX is technically better choice if you are recording just the native codec of each camera.
I personally use the EX3 (because I believe the sensor is better) and a Nano Flash using the 220 Mbps (4:2:2) i-frame compression. Or if higher quality is needed you can even record directly to a computer for uncompressed HD. Either camera at this point will do a great job.
Are you in the market for the HPX-500? I have one I’m willing to let go of.Good Luck
Michael Palmer -
The T-stop is the true speed of the lens, f-stops are a measure of the aperture of a lens, f-stops tell us how wide open the iris of a lens is.
Good Luck
Michael Palmer