Peter Gruden
Forum Replies Created
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[gary adcock] “SInce Genlock is traditionally only used in LIVE Switched environs, what exactly are you trying to do?”
Well, I’m not trying to do anything special, just to find out what KiPro can do.
If your point is that not having genlok input does not limit is practical use in live recording, I agree with that. If used in studio I’d prefer a separate genlock input for simplicity reasons.
Peter
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[Jeremy Garchow] “During playback, the Ki uses no genlock as it doesn’t have it, and hopefully the receiving device can lock to the incoming signal.”
Not correct.
6.1 GENLOCK
This parameter selects source of reference video used to genlock to during playback.
(Page 46 of KiPro manual)Peter
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[gary adcock]
“Sorry that is not correct.The KiPro supports standard genlock function via the HDSDI input signal or via the Component Y connection, no there is not a separate GENLOCK connection, but you can genlock.”
>>>>>>>>>>>>>>>>>>>>>>>>>>>Let’s be more precise.
It is only possible to select genlock source during playback, but not during record.
As soon as Kipro goes into record mode, selected genlock is lost, and Kipro will use selected video source instead.Peter
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For FCP, there is a book by Diana Weynand from Apple Pro Training series which was used as a working material for the course, available at https://www.peachpit.com/promotions/promotion.aspx?promo=135631
At the end of every chapter there are questions (with answers), which are similar to those in the test.
The course is a good reminder of basic FCP functionality, but it does not seem usefull to solve real life production problems.The next level Train the trainer course goes a bit further, but it still leaves the impression that you can do everything inside a Mac Book Pro.
Peter
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KiPro has one in-converter and one out-converter.
It will record 1080i and simultaneously cross convert to 720p on output, which you can send to video mixer.
It works similarly to Kona or IoHD: for each output you can select either input format or crossconverted video.KiPro will not work as a frame synchronizer. It does not have genlock input and will only synchronize to selected video source, or to component/RGB Y/G.
I’m not sure about delay between in and out. With a 1080i hdmi camera output, downconverted to SD and monitored on analog monitor, delay looks like no more than 2-3 frames to me.
Peter
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Ron,
I like the idea, but I beleive that at start only very basic questions should be moved to basic forum, so that forum users would slowly learn what to post where.
If all goes well, with time the bar could be moved higher.
Peter -
The first yellow led lights up at approximately -20 to -22dBFS.
When the red led lights up there is still 6 dB of headroom available before clipping.With 24 bit audio there is no need to go too hot. The KiPro converters are probably 19-20 bit in resolution, so at -20dBFS you still have the full quality of 16 bit resolution available.
Also, high levels may drive analog electronics in unconfortable zone and level matching with analog equipment is also lost.
Peter
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The problem is probably your G5.
On Mac Pro I have Pro Tools HD1 and Kona LHe in the same computer, without any problems. I also have Blackmagic Multibridge Extreme, installed on a different OSX partition for Pro Tools work.
With Mac Pro and Pro Tools 8, Blackmagic let you monitor SD/HD video on external monitor while doing your audio work.
I asked an Aja engineer on IBC about support for Pro Tools, but unfortunately I got no definitive answer. Soon after that Digidesign announced support for Blackmagic.
Peter
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To do what you want you should do this – this is the simplest method:
-make a new composition in After Effects, with D1/DV widescreen preset; the picture will be 16:9 ratio but still 720 pixel wide (for PAL or NTSC)
-when you import the AE render in Encore the track will automaticaly switch to 16:9, you cannot change this (if you use external mpeg encoder, set it to 16:9, Encore will recognize this when you import it)
-make graphics for menu in Photoshop with 1024×576 pixels(PAL) and import it into Encore; or you can create a wide menu in Encore and open it in Photoshop, and create your menu from there
The better way is to select After Effects composition preset D1/DV Widescreen Square Pixel 1024×576, and on rendering just strech it horizontaly to 70,31% or to 720×576 pixels(for PAL). While you work in AE, your graphic and text will look much better on the screen. Compare both compositions and you will not want to work with video pixels again. It makes sense to work with square pixels up to the final render. This is also true for menu graphic.
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What Walter said is true, MM sucks.
You need to do it in three steps:
1. you have already done your first step (Media Manager, Use existing etc). Nothing happens, the original clip is still in Capture scratch folder.
2. select your subclips again, open Media Manager and use Move, and select your scratch folder as media destination (the problem is, after the first step Media Manager puts new clips in temporary folder, so you need to move them into your capture scratch folder)
3.select clips again, Rename File to match Clip, as the new files will have arbitrary names
The original media file will be gone, and new media clips are in new Media folder, inside Capture Scratch folder.
Not very elegant, but it can be done.
Peter