[Scott Erlinder]

This seems to me ot be a “JVC preset” as to how the camera reads color in this portion of the spectrum. IF you go in to the menu and do a custom preset with your r-g b-g g-b, etc, setting you should be able to get skin tones the way you want them without affecting the rest of the picture much.

You have a lot of parameters in the camera to get what you want and since this camera came out, I have had to do alterations to the “out of the box” settings…

[Scott Erlinder]

Jeremy,
It was 1080p 23.98. Quicktime was made from timeline export of Red camera files.(Not by me)
As far as setting up the projector, the best I could do was set it to bars as I had no calibration software.

I know it should look better, it only makes sense, but maybe they were looking at the color grade of their Quicktime on their cinema display with the wrong gamma (2.2) before they gave me the file and used that as their basis for discontent.

Hard to know where to go from here, since they aren’t very knowledgeable technically…

[Scott Erlinder]

John,
There was no switcher in the system to show a split screen, but, to my eye, the blacks were richer on the Ki Pro output and better color. Maybe they liked the “grungy” desaturation of the Blu-Ray….

I guess it’s what you subjectively feel, but now they have rejected using the Ki Pro for anything.
Big mistake in my mind…but that is just me.

[Scott Erlinder]

Thanks Gary, but we know it’s not 5.1 sound.

What we got from AJA, when we could talk ot an engineer, is that a number of units are having audio problems on playback. We’re getting a new unit overnighted to us today and we’ll see if this fixes the problems.

I’ll post my findings ASAP.

Thanks to all!

[Scott Erlinder]

Sorry, forgot to tell you, we hear the audio digital chatter even in the headphones coming right off the Ki Pro.

The HDMI video/audio we’ve tried plugging in to our normal Samsung computer monitor, our Samsung HD projector and into our Denon amp/switcher that combo feeds video audio.

We have also tried analog versions of these hook ups.

The best,
Scott

[Scott Erlinder]

Gary,
Thanks for the quick reply! (I’m here in Chicago to).
Let me give you background info,
We’re finishing a film in Final Cut 7, it came from Red files, cut in 2K, and some After Effects stuff inserted for wire removal, etc….

We output the movie to Apple Pro Res 422, 1080P, 23.98
Audio is 24bit, 48 Khz, dual mono as suggested in the forum.

We get great picture, but as posted, the only thing we hear in either HDMI or analog audio is the “digital chatter”, not a real audio signal.

The Best
Scott

[Scott Erlinder]

OK, so you guys are great, but I just want to make it clear on setting for playback from a Pro Res 422 FCP movie.

We transferred the movie from the Mac to the Ki Pro drive, Pro Res 422, 1080P, 23.98.
Audio was dual mono, 24 bit, 48 KHz.

We get picture but the audio plays like it’s reading a digital file, not audio. VU meters show a signal, headphones give the same audio as the XLR or HDMI audio.

Any thoughts?

[Scott Erlinder]

Thanks guys!
This confirms close to what I got back from the JVC engineer today. The 1080 recordings are really ca-ca in my book and lowering detail was a nice “touch”. I’m spreading the word to my students right now.

Next step is better glass. I’m not exactly in love with the stock Canon or Fuji lenses. Lots of chromatic aberrations- and wide open, I couldn’t ever get the Fujinon to look sharp, no matter how hard I tried to adjust back focus.

Guess I have to shell out for the nice wide angle…

Many thanks again,
Scott

[Scott Erlinder]

The depth of field is determined on any photographic system by the imager size and acceptable circle of confusion. The only way you get around this with the mini 35 adapters is by rephotographing the image projected inside the adapter by the video camera.
JVC makes a $4000 relay lens which doesn’t do that, but instead, uses a “relay” lens to squeeze the 16mm lens image down to 1/3 inch imagers, which gets you roughly 16mm depth of field. Without the relay lens, you are just putting another piece of glass on the camera, not creating a different DOF. (go here and I think you’ll see what I’m describing:
https://www.snodart.com/tutorials.php )

The Arri St mount is a very old style mount (pre-bayonet, but will work in a bayonet mount) that looks like a tube at the back of the lens. Be careful though, there are some very cheap versions that are machined aluminum rather than Stainless steel- don’t buy those. In the old “S”, they physically rotated in the mount for focus. These will not work with adapters in newer systems. Look for Distagon and/or Planar models from Zeiss, stainless steel for the rear mount.

[Scott Erlinder]

Update-

The problem was not JVC’s firmware, it was a moron of a student who kept plugging in the firewire backwards and blowing the HDV board because the computer buss power was going in to the deck.

Thought everyone should know…

Scott