Steve Covello
Forum Replies Created
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I only use Broadcast Safe for luma values [7.5 – 100 IRE] and it works OK for that. The CC I referred to was for specific 3-way color corrections to bring reds, orange, magenta into gamut using Limit Value.
Steve
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I believe your deck needs to be in Input Video for sync reference, not REF. This is really annoying since none of my assistants can remember to switch the deck to Input Video when outputting from Kona.
Steve
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You are right, Bob — he SHOULD be able to reboot everyday without issues. And my damn train shouldn’t get stuck in the tunnel and my car should be able to start on the one day where I can’t be late, etc. etc. It’s just a question of managing entropy, IMO. 🙂
steve
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I’m not trying to be a smartass here but why not just not shut down? There are some cron and system functions that go on “in the middle of the night” that maintain your G5 too that are good to have done. Unless there’s a really long weekend, I tend to leave the G5 on all the time. I am also paranoid about machines that, for no reason, have refused to startup even after flawless performance for years, so at least I get no suprises while my client are walking in the door. I’m all for energy saving, but I’ve been burned enough times with stuff that decides to croak i.e. cards, SCSI drives not mounting, software that won’t boot, blinking question marks, etc.
steve covello
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Open Activity Monitor and see what else is running. Check your Startup Items in your Account settings in System Preferences to see if there is anything that doesn’t need to be active. Is it possible your drive is being indexed? not likely, but that will slow things down a lot.
steve covello
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10-bit RGB? NTSC is not an RGB format, it is YUV/Component or Composite. I don’t remember the old Easy Setups from that card, but shouldn’t there be a SMPTE NTSC 10-bit setup? I figured RGB settings were for 4:4:4 footage coming from HDCam-SR or from graphics files. If this is the case, and your sequence is also set as an RGB sequence, you are demanding more from the system than simply a SD signal. Since I can’t see your settings, I don’t know if this is relevant, but no one else in this thread has mentioned it.
Steve Covello
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Thanks for the reply Bob, but I’m not sure what you mean in your reply. Do you mean that it is Alessis’ standard or the industry’s [AES]standard? How could it be both if Alessis is not “the industry” per se given that there are other products like DA-88?
Thx – Steve
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My experience with the 29.97 to 23.98 via HDCam is as follows:
1 – If the JH3 is anything like the F500, then you cannot capture 23.98 while the deck is set to 29.97 [if that is what you are doing]. The deck will only playback and stream data in the setting that the deck is in.
2 – Pulldown timecode does not exist on your HDCam tapes, only the originally recorded 23.98 TC. This means that even though the PD card is displaying PD TC, it is only a realtime conversion for display purposes only. There is no PD TC stream in the RS-422, nor in the HD SDI stream [although it is embedded in the SD SDI stream]. that is probably why you cannot “see” certain frames.
So you will either have to convert your 29.97 EDL to 23.98 first, or set up FCP in 23.98 and digitize your clips in 23.98, create a new blank 23.98 sequence, copy/paste your recaptured sequence media into it, then eye match against a rough.
If there’s a better way to do this, stand me correctly.
Steve covello
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Color correct ratable, in your opinion? cost?
steve covello
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Thx for the coda. However, recordability is not the issue. If the DV picture is 720 x 480 and the “canvas” of the 601 D-1 SDI output stream is 720 x 486, will the K2 resolve the fact that DV footage, on a 601 D-1 canvas without any manual adjustments [in other words, no vertical repositioning], would have its field dominance reversed to upper? If you copy/paste DV footage into a 601 sequence, it automatically repositions the footage +1 scan line to preserve the proper field dominance. I was wondering if K2 does this automatically.
steve