[Uli Kunkel]

Thank you, Shane. You were right.

I uninstalled then reinstalled the Kona drivers and utilities and made sure to install all the Easy Setups. Ran a couple of tests in FCP, and it finally let me capture 23.98. And, for the slow-mo stuff, I was successfully able to use the frame rate converter to convert the 59.94 footage I captured to 23.98.

Thank you again for your patience.

Best,

Uli.

[Uli Kunkel]

Okay, I’m sorry, but I just upgraded to Snow Leopard and had to install the new drivers anyway. So I’m not sure re-installing is going to help. If anything, I’m doing something else wrong.

I don’t understand why I’m able to capture at 59.94, but not at 23.98. This footage was clearly shot at 23.98.

Just for fun, I used the frame rate converter on one of these clips to “Remove redundant frames” and it successfully converted the 59.94 clip to a 23.98 clip. I would like for the card to do this while capturing, however, like you said.

What else could I be doing wrong? Could it be a setting on the deck?

I’m using the AJ-HD1700.

[Uli Kunkel]

I should also note that I tried various capture settings for the Kona card that were DVCPRO HD at 23.98 and they didn’t work. The video signal wouldn’t come through in FCP. It only worked with the 59.94fps setting.

When I play a clip back in the viewer, you can see the redundant frames. If there is a way to remove those and produce 23.98 media, that would be great.

Uli

[Uli Kunkel]

Are you sure that FCP will remove the frames when capturing through the Kona? I’ve heard of that with capturing through Firewire, but not the Kona.

Also, I’m using FCP 7. There isn’t an Easy Setup for just DVCPRO HD 720p24. It’s a lot more complicated than that. You can choose DVCPRO HD, but then you pick your frame rate and a bunch of other options. The Kona comes with a bunch of setups too.

So, please clarify. Thanks.

[Uli Kunkel]

Kevin,

Your script works like a dream. I have only one question for you:

Working in a 2K composition, when I export the QT movie I see NO STROBING and NO FLICKERING. Assuming it looks okay playing back at it’s 2K size, then I shouldn’t run into any problems when the composition is transferred to lower formats like standard def on an interlaced DVD, broadcast formats, etc., right?

Uli.

[Uli Kunkel]

[gary adcock] “Working in FCP’s “Safe” mode does not force the same restrictions on bit depth with renders that the RT Extreme engine does with your files.When you have processing set to float or “high precision YUV” it should maintain the quality you desire. “

So in an RGB timeline, should my realtime setting be set to “Safe” or “Unlimited RT?”

[Uli Kunkel]

Gary,

That’s interesting that YUV is greyed out. That would lead me to conclude that FCP will actually render transitions at 10 bit RGB. I’ll do some tests with this and re-post.

Best,

Uli

[Uli Kunkel]

But if my timeline render setting is on “High Precision YUV” won’t it render dissolves and other transitions in a YUV color space rather than the RGB color space of the ProRes clips in the timeline?

[Uli Kunkel]

How could you test if a render file is 8 bit or 10 bit?

[Uli Kunkel]

Thank you. I have read that, but my concern isn’t with ProRes. I know what the codec is capable of. My concern is with Final Cut Pro. Documentation on the way it handles 10-bit RGB 444 color is vague. As of right now, the most consistent answer I’ve gotten from different sources is that a ProRes 4444 10 bit RGB timeline will play back to SR just fine, but that if there are any transitions like dissolves, they will only render as 8-bit. I am trying to get official confirmation on that point.