[Rich Kaelin]

actually, I just reread your question, and it seems like you might want to store an event. unfortunately, I am Not sure if it stores all the aux buses and every single thing on the switcher. Or if it just stores your keying settings and stuff like that. that would take some experimentation to see if it actually stores it all, and then you can store two events and recall them alternately. I actually have some difficulty programming events, it has been hit or miss.

Rich Kaelin
Kaelin Motion Production Services
https://kaelinmotion.com
New York

[Rich Kaelin]

I think so. I know how to program the Aux outs, assign the crosspoints to various inputs, switch what the Aux busses are sending out etc. I actually did a shoot over the summer that I had 3 different cuts going out for a corporate event…one to screen in house, one to record master, and one to web stream. That was a little hairy. We don’t have the Extra DVI input card right now, we are going to order that (as usual…as soon as we get another job that needs it, so I have to learn it under pressure, lol)

I have lots of BlackMagic converter boxes, so I was just converting DVI to SDI and using those inputs, plus the standard DVI in that comes with it. I am not 100% sure exactly what you are asking. Word your question very carefully and I will try to answer. It might be mid next week unless the answer come right to me, I may need to set up switcher, sit down and test to be sure I am giving the right instructions, but I think I know what you are asking, and I have done it. just don’t want to give bad instructions, it is a somewhat confusing box, and easier to give step by step if you are in front of it opening menus, etc. in order to do it.

PS, like the box, just a bit non intuitive.

Rich Kaelin
Kaelin Motion Production Services
https://kaelinmotion.com
New York

[Rich Kaelin]

It is a High end JVC monitor.

In the end, my exports do not match themselves…READ CAREFULLY.

PRORES segments and STILLS that have the same color value going in show different color values once rendered. I output the clip as a prores file…and the blue in the log shifts from stuff that was ProRes footage that I animated and the Stills. If you bring all 3 into After Effects, The animation, The Still, and the render that assembled them, The 2 source clips match RGB when inspected. In the rendered clip, the animation (ProRes) and the still (PSD) have different RGB Values. This is NOT IN OR ON A MONITOR. This is with a digital inspection of the rgb values. AND they look different across all monitors.

Also, if I bring the same source clips into premiere, then export a Pro Res HQ 422 movie the resulting clip has perfect color matches across all 3…NO DRIFT AT ALL.

Rich Kaelin
Kaelin Motion Production Services
https://kaelinmotion.com
New York

[Rich Kaelin]

I am seeing a difference on my studio Monitor, which I assume is calibrated. Here is the thing…I rendered all moving animations from AE to ProRes422HQ, and all still composite images as .psd. When I compare the two, from the same time line, exported directly from FCP, both containing a logo, they are quite different. Different export codecs yield different results…BUT if I use Uncompressed 10 bit, the prores parts match perfect, and the still are “brighter. I determine this, as I stated originally, by importing clips into After Effects and using the info window. When I hover over prores parts, I get the exact color from original file, right back to their source. When I hover over a still PSD, it is “Brighter, by about +20 in the R, G & B values. if I also inspect the original Prores and PSF files that were used in the project, both match 100%. I think FCP just sucks at color, and I should have edited in Premiere. Adobe seems solid…but converting maybe difficult.

Rich Kaelin
Kaelin Motion Production Services
https://kaelinmotion.com
New York

[Rich Kaelin]

The codec is an HDV codec, so a form of mpeg2. All audio is 48k. What is weird is that it seems off in parts and not others, but when I scrub frame by frame it is dead on perfect. I found a scene where a walking staff contacts the stage and “clicks” and the click seems early when watched in real time, but is perfect on the frame that contact is made when scrubbed frame by frame.

Rich Kaelin
Kaelin Motion Production Services
https://kaelinmotion.com
New York

[Rich Kaelin]

Yeah. They don’t seem to cover the 410. I don’t need basics at any rate, I need advanced. It is a really powerful switcher/image mixer and I just want to get the most out of it. A lot of it’s controls are not very intuitive.
Thanks

Rich Kaelin
Kaelin Motion Production Services
https://kaelinmotion.com
New York

[Rich Kaelin]

Like I said I am still using FCP7. I did a quick little video that may clear things up a bit. I forgot to mention, because I thought it was obvious. You choose an in point that mark a singular point in time to sync the cameras. I used time code, but if you use a clapboard or camera flash, set in to the frame where board naps or flash is visible in all cameras. That should sync everything. Sorry I am not in 10, but this should still cover the basic concepts. I just decided today to finally upgrade. I use premiere a lot, so I didn’t really miss FCP…but the FCP multiclip is far superior, IMHO. Maybe once I’ve had FCPX awhile i will do a real tutorial. This is just an attempt to help you out. Video is processing now, should be ready any minute.
https://www.youtube.com/watch?v=r5FwAu59z-4&feature=youtu.be

Rich Kaelin
Kaelin Motion Production Services
https://kaelinmotion.com
New York

[Rich Kaelin]

UPDATE: I now know there is a known gamma shift in FCP7…does this still exist in FCPX? Apparently 7 is not a “color managed” program, thus the shift. AE and even Premiere do not have this. Unfortunately, the project hardly comes into Premiere nor AE easily.

So, is there a way to correct it? Does FCPX cleanly import FCP7 files, so I could just load and go? I have been meaning to update, so now would be a good time if it solves this issue.

Rich Kaelin
Kaelin Motion Production Services
https://kaelinmotion.com
New York

[Rich Kaelin]

I cannot really totally figure out what you are asking, and I am not fully familiar with multiclip in FCPX, but I assume it has the same basic function as in FCP7.

Essentially, only clips that are synced together can be edited in a multiclip. So say you have 3 (or 5 or 10) cameras rolling. If they all have time code, great. If not use a clap board, or a camera flash, some AV marker for syncing clips. Once that is done, it must be done again every time any camera is stopped. NEVER stop cameras when acquiring footage for a multiclip edit. If you have synced time code, this is somewhat different, but you need a new multiclip every time even one camera is stopped. So we did a live concert with time code, I stopped all of the cameras between sets, so each set was it’s own multiclip.

Once your multiclip is edited to perfection, right click on it or go to the Modify menu. There is a selection that is “Collapse Multiclip” if you do this you will not need to render the multiclip edit, and it will turn the timeline into essentially a regular edit. You can then insert b-roll and whatnot. You could also nest sequences of finished multiclips. like I said, not 100% on how all this works in X…workflow may be significantly different, but the concept should be similar. Multiclips are their own special animals. I have also dropped other footage on a track above the multiclip when needed.

Hope that helps at least a little.

Rich Kaelin
Kaelin Motion Production Services
https://kaelinmotion.com
New York

[Rich Kaelin]

Gary,

I set up and engineered the entire thing. As I said, the jib looks fine on the program, and looked fine on all monitors and scopes all night, it is only the iso record that shows any issues.

I also set all the AJA Ki Pro machines to matching settings and triple checked them. Plus, I don’t know if it would matter, as a TCG was feeding all of the decks via a DA. Also, way more than 10 minutes for 11 frames, inconsistent time to slip ratio. I would edit a half hour of program no issue, then one song later see major slip. Very odd…except that if I watch the jib iso I see a section with major dropped frames in that segment. So it seems to make sense. In one instance, the beginning of the song is synced, then 2 minutes in I see major slip. I watch the iso, and there is a 30 second stretch where I see many dropped frames. On other sections I watch and there are zero drops.

Also, since I synced Multiclip via an in-point (not timecode) DF vs NDF should have no relevance in the fact that visually the footage falls out of sync with the soundtrack. 5 of 6 sources stayed in perfect sync.

Lastly I loaded and formatted all media, as well as transferred it all to the drives I now edit on. Zero issues were flagged. I have one 250GB drive that the machines accept, then it fails a few minutes into recording. That drive is marked as bad. These drives NEVER showed any issues, until I watch in post.

Which brings me to my QUESTION…is there a utility to test drives? Will a standard utility work? Can it be done with USB 3 or firewire connections, or should I find an eSATA adapter? Do the machines have a test mode built in?

I just want to figure out which drive it was and pull it. I really hope it is not a machine issue. We don’t use them that often.

Rich Kaelin
Kaelin Motion Production Services
https://kaelinmotion.com
New York