[Richard Starkey]

YES!!!!!
I used to have an AJA I/O, pre-Thunderbolt and I monitored audio from the headphone jack on that until I realised that the quality was rather poor.
This was only after I had splashed out a lot of money for some very smart audio monitors.
So I switched to the analog out and it was much better.

Now in a new suite I have an AJA IO XT and have the same problem as Tom.
There is occasionally a crackling sound over my audio which won’t go away until I press stop and start again. Sometimes it continues after I press play again.

It sounds like radio mic interference but is definitely coming from my playback and is completely intermittent.
I would monitor from the analog out of this device but there is none- unless you manage to track doen that ridiculous cable or get an amp that monitors HDMI.

Please can anybody with a solution come forward? I have the latest firmware and all other software up to date.
Brand new Mac 27″ running FCP 7.0.3.

Cheers,
Richard STarkey

[Richard Starkey]

Can I just ask a very simple question:

If I want to grade a piece for viral web use (and possible tv broadcast later), what settings should I use?

My unsuccessful workflow:

Grade 5D Native files in DaVinci Resolve, on “Normally Scaled Legal Video”
Render to MXF 185 as normally scaled legal video
Import back into Media Composer so I can add the title and audio
Export from MC to make up a master web clip in Compressor/ Mpeg Streamclip

I compare the graded Prores clip to that shot in my edit as exported out of MC, and I just can’t get to to look the same, in a Quicktime player.

This is a monochrome piece, so a gamma shift is very plain to see. A shift in luminance is also very obvious- I’m getting both in varying degrees.
The DNX looks too green and dark.
I’ve tried rendering to Prores and linking via AMA, but that looks too light.

And exporting out of MC: RGB or 601?

Can’t seem to find a successful combination that retains the original look I had in Resolve.

The same workflow into FCP seems to be much simpler and retains the look exactly.

Any advice would be really helpful.

Richard Starkey
Priest Post
Cape Town

[Richard Starkey]

I’ve been seeing this too.

I’ve tried exporting out of Resolve as:
Prores 4444
Prores HQ
Uncompressed QT RGB
Uncompressed QT YUV
DNX HD 1080P 185
DNX HD 1:1 RGB

Nothing looks the same. The DNX all look a bit green and there is a gamma shift- basically less contrast or dimmer whites.
Importing the Prores via AMA looks too light on the other had: the blacks seem lifted.

Even if they look ‘okay’ in MC 5.5, I then get further color shifts when I export a QT for clients to view: basically a complete nightmare! Wish I could just hit on a solution for this, but it looks like I am having to turn to good old reliable FCP7!

Richard Starkey
Priest Post
Cape Town

[Richard Starkey]

Hi TIm,

I was just trying that today on set but with an Alexa.
In the AJA Control Panel I could see that there was the correct timecode but it was not being read in FCP7.

Having said that, the Alexa was set to rec run which meant that there was only timecode being generated when they went into record on the camera. Unfortunate because I kind of need to be rolling by the time they start the camera. And if I understand it correctly, it is LTC which means it has to be running in order to be read (as opposed to VITC which is what you get on the RS-422 port)

I also tried it in Media Composer but wasn’t given much time to sort this out. Tomorrow I’ll put the camera onto free run and do some further tests.

Cheers,
Richard from a cold-and-wet Cape Town