Ramona Howard
Forum Replies Created
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Here is my .02 cents:
If you go with an AJA capture board, choose one of their converters to get you what you need to boot. This way if you ever do need AJAs support, they will be able to help you fully without assuming how other products work and fit into the mix (believe it or not but the simplest of items can be done totally different by different companies, you can’t assume jack) .
If you make a living at doing this, spend the extra few dollars and turn to one of the best companies there is for support. If you only looking to save money then Frankenstein away 🙂
Remember when it comes to converters and capture cards AJA has been doing this much longer and they don’t settle for OK (they really are perfectionists). You really do get what you pay for. Other than an occasional cable issue, we simply don’t return AJA products and we use lots of them.
Cheers,
Ramona -
Mike,
If Syncvue doesn’t do this look at Rave, as we do everything in realtime and what you have asked for. The easiest way to explain “one way of using Rave is”. The master location is where the uncompressed video resides. The system is then controllable by as many GUIs as you wish to open, at as many locations as you wish.
Each location has complete control and everyone sees this. Rave now supports full frame playback to the GUI so if I hit play, you also see the full playback and visa versa (along with anyone else connected).
* Let me add that these external locations can also build playlist and such from any distance, they don’t need to be anywhere near the actual system that hosts the uncompressed material. Dailies sessions without the conversion 🙂
Nutshell. One system, no compressing, converting, moving or waiting for anyone else in the world to see the content. GUIs can run on a variety of hardware and is used quite often on a laptop. All you need is an Internet connection.
Cheers,
Ramona -
Greg,
We do this on the Rave 🙂
Technically you could have 100 clients opened up, all in different locations, seeing the same thing.
Cheers,
Ramona -
Does this deck support RP188? and is there a setting on the deck that turns this on/off
Cheers,
Ramona -
My guess is thru a graphics board because he stated he just got his Kona3. I will refrain from commenting…..
Hey Paul, you hold classes don’t you, I could use some help. They are free, right?
Cheers,
Ramona -
Are you only going out to SR because that is what is specified for delivery? If this is going to a film-out will they take a file? This way you don’t add to the degradation (be it slight, it is there. Remember this isn’t the best quality to start with)
aja kona 10 bit rgb 4:2:2.
1920×1080 I presume?
You can do two things.
render out a QT or render out to DPX, put the files on a portable firewire and take it to one of the places I sent you. They have products that can support taking the files off the firewire drive and spitting out to tape.
No your 7200rpm 1TB firewire drives will not play out an uncompressed 10bit RGB file, even if it’s in only 4:2:2 (nice try). The only thing they will be good for is portability or playing out a highly compressed file that requires less thruput.
You should be able to render to them directly. Just keep in mind they will be slow. from there just take them to someone else.
My only suggestion in the future with this set-up is to use the higher capabilities of both the camera and FCP. The HVX200’s resolution is recorded at 960×720 for 720p mode, and 1280×1080 for 1080i mode in 60 Hz territories; in 50 Hz (PAL) regions it is recorded at 1440×1080. If your doing feature film work that may go to the screen you want as much resolution as possible to start.
I am by means no expert on the camera (try Adam Wilt on what he suggests to shot in for the best results).
Old computer saying “GIGO” – Garbage in, Garbage out. Start with the best you can get, because unless you have the right tools you are going to degrade this every step of the way.
*This is why uncompressed is still the only viable workflow solution for feature work. Even at a lesser resolution, if you bring in uncompressed and stay uncompressed you don’t add to the degradation.
Hope that helps you out a bit in the future and although I admire the creativity side, take the real work to the professionals who do this day in and day out.
Cheers,
Ramona -
Can anyone help me the systematic way mastering out a feature film on 5.1 surround sound. I just bought a Kona 3 card for my Intel Duel Core Mac running Leapord, 8 gigs of RAM, 2.66 processor.
I am using FCP 6. I cut a whole feature film and need to put it on a master tape. (HDcam SR). I have 5.1 surround sound.
I wanted to add to Aces post or rather bring up some questions/issues. Food for thought.
He states here he cut a whole feature BUT he does not state in what format (codec) he has used. Also no mention of what the original material was. He also wants to go out to SR for the master.
my .02 cents
If your cutting in a proxie format (at this point anything less than the quality of the master) what is it going to gain you to output to a higher format? You do it because the studio requires that deliverable. Well guess what, so much of what we are seeing that looks like crap (visually) is because a real workflow is not be followed. (Ace not saying your not, your post just opened the discussion)
The best workflow is to cut with a proxie, conform to the master and output that. In the case of the master material, anything captured in that is not in an uncompressed format is going to result in compressing down an already compressed format. Now you wish to output that to possibly a higher format than what you started with?
Generation loss happens regardless if your going tape to tape or format to format, I think something most forget because the picture looks great on my 30″. If you follow a true to form workflow you can be assured that no generation loss can happen from ingest to master. Yes it is more work but the tools are all there to do it.
You want to play in HD with the big boys, then start thinking like them.
Cheers,
Ramona -
Ace,
Paul is correct. Being in LA you have a huge list of places you can go to on this. This will insure you get it done right as these shops do this everyday (pretty much all of the networks have gone to a 4:4:4 workflow).
Your hardware will work (as long as you have the disk speed behind it, which you do not mention) but there is soooo much more to this.
Is your time more valuable trying to figure this out? or spent elsewhere? and can you afford the time it will take to go thru the learning curve and the mistakes you will make? or the money out of your pocket to do so? those are the questions to ask yourself.
I can figure out how to change the oil in my car, but I choose to take it to someone who can do it much faster. My time is very valuable to me. Costs me a bit more but I get to make more elsewhere….and without getting my hands dirty or breaking a nail (joking)
The trick. Establish a friendship with a studio, you may be surprised what you can get on a budget when you do so 🙂
*this is what filmaking is really about – friendships
If you need contacts email me off list
ramona@spectsoft.comCheers,
Ramona -
Brian,
Rather than posting here. go straight to AJA support. Call do not email. Hurry you may catch them before the weekend starts.
Ramona
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here here.
Cinetal
It’s becoming the de facto monitor for high-end.
Ramona