Ryan Holmes
3
COW Coins
Forum Replies Created
-
“Best” intermediate codec can be debated endlessly. The ones most people standardize to are:
(1) DNxHD – read/write works on Mac or PC.
(2) ProRes – read/write on Mac, read-only on PC.
Ryan Holmes
http://www.ryanholmes.me
@CutColorPost -
What’s your system specs? Does it mean the minimum requirements for running Resolve 11?
Ryan Holmes
http://www.ryanholmes.me
@CutColorPost -
[Bryan Roberts] “I’m getting read / write speeds around 200mb/s on the standard esata Graids I’m using”
You wrote mb/s (megabits per second)….did you mean MB/s (megabyte per second)? If you do mean mb/s be aware that 1 stream of 1080p30 ProRes will run about 147 mb/s. If you’re pushing ProRes HQ you’re looking at 220 mb/s. If you do mean mb/s then your RAID is likely a bottleneck for your playback.
Ryan Holmes
http://www.ryanholmes.me
@CutColorPost -
[Mark Shepherd] “Thanks, I have checked everything possible.”
It’s your IO HD. It can’t take in 1080p24 signal. It can only output 1080p24. Page 15 of the manual states:
[AJA IO HD Manual] Formats supported (video only):
525i, 625i, 720p 50/59.94/60, and 1080i 50/59.94/60 are supported on input and output.1080p23.98, 1080p24, 1080p25, 1080p29.97, and 1080p30 are supported for
output only.”https://www.aja.com/assets/support/files/1080/en/AJA_IoHD_manual_v9.0.1.pdf
You’ll need to update to a more modern IO device for capture. The IO HD was made back in 2007 as one of the first ProRes over Firewire IO devices certified by Apple. 2007 the 1080p24 format was not nearly as prevalent as it is today.
Ryan Holmes
http://www.ryanholmes.me
@CutColorPost -
Mark you should double check your settings in camera and on the AJA box. On my 5D if I set it to 1080p24 (23.976) it sends that out the HDMI port. I’m verifying that via a SoundDevices PIX240 external recorder.
It sounds like one of your devices in the chain isn’t setup correctly or is incorrectly interpreting the signal.
Ryan Holmes
http://www.ryanholmes.me
@CutColorPost -
[Tim Kolb] “Is Premiere Pro using 32 bit QuickTime on Mac like it does on Windows?”
Yes it still is. PPro is still hooking into Quicktime as a 32-bit app. I’m hoping one of the near-future updates will allow them to tap into AV Foundation and speed up the render and use of codecs like ProRes.
As to the OP problem of smooth playback of ProRes in PPro I’m not quite sure. Our workflow centers around ProRes (Proxy all the way up to 4444) and I don’t have any problems playing back on our Mac Pro towers which range in age from 2008-2012. All of our data runs off of a 10Gb Fiber SAN.
You could also try clearing out your Media Cache every once in awhile and see if that helps improve load times.
Have you run a speed test on your raids to see what type of throughput you’re seeing. Something like Blackmagic or AJA speed tests would do the trick. I’m just curious if we could see some numbers (since you’re playing R3D files I doubt that’s the problem, but…..)
Ryan Holmes
http://www.ryanholmes.me
@CutColorPost -
[Jonathan Blundell] “Has anyone used either of these decks with their Canon 7D? “
The 7D doesn’t have a clean HDMI output, so some menu overlays are always on even when viewing over HDMI. So you could use a BMD or AJA deck to record but it won’t really be usable. You can also look at Atomos Ninja recorders for the same thing.
[Jonathan Blundell] “Does this in fact bypass the 12 minute limitation and limit overheating that I’ve seen on some longer filming sessions?”
Sort of, but you still have to have the camera rolling or else it’ll fall asleep. So you still need to monitor it and press Start/Stop ever 10-12 minutes to break the file. It “bypasses” it in the sense that you can record longer from the DSLR camera provided you can keep it awake and powered for the length of time needed. However you still have the problem above to contend with.
[Jonathan Blundell] “Any other issues I should be aware of?”
DSLR’s aren’t built for long-form recording. In fact, they’re quite terrible!
[Jonathan Blundell] “And/or would it just be better to get a new camera like a Panasonic P2 or Sony XDCam for longer videos?”
While I enjoy DSLR’s for some jobs, they are not long-form cameras. If you need to record an event that runs for 60-120 minutes you’re far better off with almost any of the standard offerings from Sony, Panasonic, or JVC. I keep a couple of old Sony EX1’s around for just this sort of thing. They’re so much easier to manage, run audio into, and record on for long-form events.
Just my $.02
Ryan Holmes
http://www.ryanholmes.me
@CutColorPost -
I second all the Warren says. Trying to get your shutter speed as close to 180 degrees (or double the frame rate) is best practice, though that won’t really impact your noise levels as much as your motion blur in the frame. If you’re looking for explanation about what this is see here. What Warren says about ISO is exactly right with Canon DSLR’s. Trying to stay on the multiples of 160 is best practice. See here for explanation.
I’d also add that the video you linked to looks like it went through some color grading (or they had a really hard time finding the right white balance! :-). So the blacks are very crushed in that video which would hide some of the noise. They may also have run a denoise filter on the clips as well, further reducing it. But keep in mind anytime you raise your ISO, making your sensor more sensitive to light, you’re going to increase your noise as well. Depending on the camera, the shot, and what you are demanding the increased noise may be ok….or it might not be acceptable. If it’s not acceptable then you need to bring more light into the scene so that you can lower your ISO setting.
Hope that helps a bit!
Ryan Holmes
http://www.ryanholmes.me
@CutColorPost -
Are you just using it for on-set monitoring? Does it need to be color accurate?
If you’re just using it for monitoring focus/composition or for rough preview then any HDMI compatible screen will work. Once you run your cable from the camera to the monitor though it’ll tie you down to that spot (fine for some type of productions….not viable for run ‘n gun shooters).
If you need a color accurate monitor for on-set then you’re looking at spending quite a bit more, but you can have a look at FSI monitors, TV Logic, or Sony Professional monitors. With color accurate monitors you’re looking at a starting price of around $3K+.
Ultimately, it really depends on your needs.
Ryan Holmes
http://www.ryanholmes.me
@CutColorPost -
[jason levy] “1920 x 1080/59.94 as requested.. “
This is an aspect where people throw numbers around without clarifying what they mean (not direct at you, but more of our industry as a whole). So 1080i59.94 is 1080i29.97. That’s because 1080i59.94 refers to fields per second which is 29.97 frames per second. So if you’ve set it for 1080i59.94 the only frame rate you’d chose is 29.97 (unless you were doing a 23.976 conversion).
Anyway, you’re on the right track with that.
Ryan Holmes
http://www.ryanholmes.me
@CutColorPost