[Tim Kolb]

Next Clip: Jump
Previous Clip: Jump Back
FF: Chrono (chronological)
REW: Chrono Back
REC: (confirming “roll” on set) “In Write”

TimK,
Director, Consultant
Kolb Productions,

[Tim Kolb]

The Flash XDR is a good unit…as is the Nano, and yes, the Flash XDR takes analog XLR audio in.

The KiPro is also a good unit. The KiPro’s storage unit, at least for now, is a spinning disk hard drive and the solid state Convergent Design products probably hold an edge in extreme vibration situations (spleen rattling rock concert, front of house for instance)

…if you post on FCP, the KiPro has its advantages. ProRes can go 10 bit whereas MPEG is still 8 as far as I know. Generally, ProRes is a codec with a larger footprint than MPEG for similar visual quality as it’s I-frame. In practice, FCP runs either format well…obviously ProRes is optimized and designed for FCP, but I’ve seen 100 Mbit Long GOP (excellent quality) run very nicely on an FCP system.

As I said, I like them both. The Nano is handier in the field when you’re involved in conventional field production as it can ride on the back/top of the camera fairly easily. The KiPro is a bit bulkier (as is the Flash XDR).

…but it doesn’t necessarily sound like portability is an issue in your application. It depends on a lot of conditions as to which would suit you best. If the camera is outputting DVI and you’re converting the DVI to SDI, I can’t imagine that that’s a stress-free conversion. Depending on the strength of that signal, you may want to explore converting DVI to analog and recording it…

TimK,
Director, Consultant
Kolb Productions,

[Tim Kolb]

[mikkell khan] “I’d recommend you upgrade that BSOD dinosaur XP though, honestly, I don’t know why people swear by it.”

Well, it’s always a little less scary to stick with the scoundrel you know…

TimK,
Director, Consultant
Kolb Productions,

[Tim Kolb]

There’s a version that’s limited to 16 GB of RAM?

Theoretically all 64 bit systems should handle the same RAM load…have our benevolent friends at Microsoft put some artificial limitation in place?

TimK,
Director, Consultant
Kolb Productions,

[Tim Kolb]

PPro will handle the AVI files…what did you capture as?

TimK,
Director, Consultant
Kolb Productions,

[Tim Kolb]

[Jeremy Garchow] “The ONLY appeal I see is dof. Take that away and you have a piece of crap. Have you ever color corrected this camera and looked at it on a 1080 monitor? It is noisy and thin.”

I’m with you there… But that’s only a better codec away from changing.

I still can’t fault someone for wanting to use these cameras…now if the idea is that they’re getting a RED workflow for $2K…well, then I’d have to shake my head and laugh piteously. However if this is the difference between being able to do something and not doing it at all…or shooting on HDV or AVCHD consumer gear, I still think I can feel a little sympathy for wanting to endure the PITA associated with the workflow.

My opinion…subject to change.

TimK,
Director, Consultant
Kolb Productions,

[Tim Kolb]

When the firmware updates, I believe it removes your current driver (because you’ll need to install again with the new firmware.)

I’d recommend starting the computer, find the card in the device manager and go through the typical “add new hardware” steps including getting a driver installed, etc.

TimK,
Director, Consultant
Kolb Productions,

[Tim Kolb]

[Dave LaRonde] “If the only way you can get this project done is by using still cameras, you may want to consider saving up some more dough to get proper TV cameras, which after all are just one line item of many in your production budget, albeit a fairly crucial one.”

Hmmm… Have you guys ever seen the latitude on these cameras? I’m with you on the functionality…the video mode was really meant as a revenue-enhancer for (still)photo-journalists, but unless you plan on moving into some sort of motion-RAW DigiCine camera, there isn’t a conventional video camera that will get you the image latitude that the 5D, and lesser so, the 7D will get you.

All that said, the fastest edit scenario I’ve seen thus far has been a conversion in MPEG streamclip to XDcam (the rest of the project was shot on EX cameras so the editor’s idea was to get it all to run on the same timeline).

He could have just as easily converted to ProRes I suppose…even though the stuff wasn’t 10 bit, it was great looking…city streets at night, no additional lights. A prime adapter on a video camera will lose you a stop or two, not manufacture an additional 2…

Just another perspective.

I wouldn’t shoot a feature on a still camera…and the sound is ridiculously lacking (as is the viewing), but I can see the appeal of these cameras.

TimK,
Director, Consultant
Kolb Productions,

[Tim Kolb]

When you load Camtasia footage, go into “interpret footage” (right click on the clip in the project bin>interpret footage) and under alpha channel, choose ‘ignore’.

TimK,
Director, Consultant
Kolb Productions,

[Tim Kolb]

Do the sequence settings change after the project closes?

…it sounds like a bug, but without some investigation, it might be tough to tell who it belongs to.

Have you tried a native sequence and used a few un-converted Canon clips for comparison?

TimK,
Director, Consultant
Kolb Productions,