Miska Draskoczy
Forum Replies Created
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I checked the kona control panel and I already had genlock set to ‘Ref In’ not Freerun or Video In.
I finally got it to work by setting the OUTREF setting on the deck to INPUT instead of REF, i.e. its getting its reference from the video input signal, not the reference in. I hooked up both the sdi and component inputs to the Kona outputs as I think it gets the sync from the analog inputs even though I am laying off via SDI.
I’m wondering now if my bsg-20 is bunk (purchased off ebay), I feel like this is the second time now I’ve had weird sync issues that couldn’t be pinned down, the last time with our beta deck. Does anyone recommend a newer, although still basic (read: inexpensive) sync generator?
thanks for your help guys…
-z
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Did you ever figure out what the problem was? I’m having the exact same issue with final cut pro. In my case it was because I upgraded from quicktime 7.0.4 to 7.1.1 and now final cut quits as its loading its plugins, also seems to be on the audio plugs.
There is apparently no way to downgrade quicktime, at least not 7.1.1 to 7.0.4. I’d like to avoid reinstalling the whole machine from scratch if possible. I tried upgrading to FCP 5.1.1 but that didn’t help either.
thanks
-z -
awesome. thanks for all the quick responses. I figured green screen would probably be the way to go, my only reason to think about shooting white was to avoid dealing with green spill which I’ve found tricky to remove in the past.
shooting the bg actors full size and then shrinking later is also a good idea and easier to separate from any bg spill.
At the very least we would shoot varicam, otherwise 35mm. Incidentally, is there any advantage to shoot 35mm in a case like this? Its always a pain to deal with grain and gate weave for fx shots, although I guess that wouldn’t be a big factor if its keying only and delivering for SD. My thinking is its pretty tough to tell and difference between varicam and 35 when its all set in a white background like this and of course properly lit.
thanks for all your advice!
-z
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Ah, missed that one. I’ll post there. Thanks.
-z
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ah, I don’t think I was aware there was an update. I’ll definitely try that when I get back, also the purge all command. Thanks.
As for my layers there are a few 3d ones, for very simple moves on picutres, no lights, no cameras, otherwise its all pics, type and solids doing very basic scales, pans, etc. a plugin here and there. There are about 150-200 layers in the project, but I’m only over about 5-10 at a time as they are spread out over 4 mins. Yeah I can understand a little slowness here and there when a project gets complex, but I’m talking like I move the time pointer from one position to another and it takes 30 seconds to a minute for the hourglass/beachball to unfreeze. Thats pretty unusual I would think for almost any project unless you’ve got heavy computation plugins going on, or a really slow machine.
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I think this has been discussed a number of times in the After Effects boards, check there. The short answer is that, as incredible as it seems, there is in fact no free, apple supplied dvcpro 50 codec for quicktime pc. I seem to remember that there were some dvcpro 50 codecs that you could buy, but they were expensive and didn’t seem to work with apple’s codec.
The solution is to export your clips on the mac first, either from FCP or by doing ‘export’ from quicktime pro to animation, or a frame sequence, or even photo jpeg if space is more important than quality. Its inconvenient, but until Apple adds the dvcpro 50/HD codecs to pc quicktime, there isn’t much choice.
-z
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the film clutter series from artbeats are all very good, but the clips tend to be short.
-m
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Thats too bad. I guess you could re-render in FCP or AE to 1080i dvcproHD and still avoid the need for a fast array, but I imagine you’d take a hit on the quality by scaling up into a compressed format instead of uncompressed.
Is this the sort of thing AJA could update with software, or it would have to be a new model of the card? If software, any guess as to if it would be something they’d do for the LH as well as the Kona 2? I don’t know if this falls in the realm of “upconverting” and thus their differentiation between the cards, or if its considered “cross converting” and thus fair game for both their HD cards.
thanks for the info.
-zoltan
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Great, thanks. It occurred to me to check on B&H too and they sell up to 100ft component video and rs422 cables. So I’m assuming it can be done that far if someone makes the cables for it. Thanks for your help.
-zoltan