[Simon Bryant]

OS 10.8.4

KONA LHe+

Cobtrol Panel is V 9.1 which the assistants here said was the latest one that supports FCP 7

[Simon Bryant]

Thanks Michael, Isn’t that what the frame offset setting in playback controls is for though? To keep my computer monitirs in sync with my kona outputs?

and anyway I have found I cannot trust the audio and video outputs of the card to be in sync. Twice yesterday they just slipped out of sync with each other and I had to reboot the machine to be get them back into sync.

I am checking by watching 1 frame blips of bars and tone, which shows up large discrepancies of several frames but I am not sure I would notice if there were only a one frame drift. Does anyone know of a more accurate way of checking sync audio and video outputs of my card?

Surely its not to much to ask to be able to trust my audio and video outputs to be in sync?

[Simon Bryant]

If a you render a multiclip in your timeline either on purpose or by accident (I always work with auto-render
switched off) then your multiclip will not play back in the viewer. The quickest way I know to unrender is to disable and then enable the clip in question (press ctrl-b twice), thus making it unrendered, alot easier than deleting all your render files.

S

[Simon Bryant]

Hi Doug & jeff

Thanks for your response.

The shoot is of a pop gig in a decent sized venue, with pretty high end lighting. The director will have input into what the lighting guy does and it will, I suspect, be pretty varied track by track and with alot of bright colours and possibly quite strobey.

I read the link you posted and it was fascinating to get a mechanical handle on all these number we bandy about in the digital world, but it didn’t seem to explain to me exactly whats involved converting from one framerate to another

But if I understand you both correctly, you’re suggesting that we shoot 23.98 progressive. Get FCP to treat this as PSF (simply by changing the masterclip property to interlaced and working in an interlaced seq, right?)

I’ll then cut in FCP natively at 23.98, layoff a 23.98 interlced master to HDCAM, and then send it to a duplication house to run through an Alchemist to get my 29.97 and 25fps masters.

And if I understand rightly, because the maths involved between 23.98 and 25 and 23.98 and 29.98 is simpler than 25 to 29.98 I should get best results.

I suppose my other question would be, if I’m going to use an alchemist, will it actually make that much difference? Or will the Alchemist do near perfect standards conversions between any formats?

Thanks again

s.

[Simon Bryant]

Yeah it some kind of Bad TV, the plug in in the Boris Continuum set, is subtler and gives more perameters if you’ve got the cash…

s.

[Simon Bryant]

Another thing I should perhaps add is that my ProRes HQ files are 50i. I’ve been reading that Smoothcam works better on progressive movies – does Proxy throw away a field to increase compression? This might explain why I get worse results on my HQ footage…

[Simon Bryant]

I’m just about to start a job combining the 5D footaage with RED, I assumed that ProRes would be the way to go, but have found talk elsewhere of converting from the 5D’s H.264 to prores limiting the gamma to 16 235 rather than the full 0 255. Anyone heard anything about this or know of a better solution?

What if I convert into Uncompressed 10-bit and ProRes and use the ProRes for offline then relink to the Uncompressed for online?

[Simon Bryant]

problematic in what sense?

I regularly edit XDCAM natively from EX1s without a hitch. Always choose to render out as ProRes for quality’s sake, but for just cutting, never had a problem and XDCAM is alot lighter than ProRes. Could you expand a bit more or post some links?

cheers

s

[Simon Bryant]

Sorry Micheal, just to clarify: When you scanned with boomerang did it pick up any files, and did you recover these only to find they were corrupt, or did it never find the files in the first place.

As I’ve said boomerang seems to have found all my deleted files, and certainly nothing has been overwritten on the card since I deleletd, although the card did go back into the camera. The files seem so tantalisingly close.

but mayb’e thats just how they make their money…

cheers

s

[Simon Bryant]

Hi micheal,

Did you ever get anywhere with your tests? I’ve just done the same foolish thing with a nearly full 16gb card. It hurt.

Luckily I realised in time and got the card back off the cameraman before he’d recorded anything over it. I’ve run boomerang on the card and it seems to have found the files. I’m just wondering if you had any success recovering your files before I shell out $150.

thanks in advance,

s