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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

BETA FIRMWARE RELEASE: Build 13

Concrete said:
Interesting news, Jim. So build 13 has less skew than 12?

BTW, the 2:1 format is a very good compromise for ending in 1:2,4. The skew is better, the bitrate is optimized and still lets you re-frame a bit.
Click to expand...

I think you can be selective about the use of 2:1 if you are aiming for a 2.40:1 output. For example, handheld shots or loosely framed shots could use the extra headroom in case of mistakes, and if you knew you were doing fast pans, or stuff was going past camera really quickly, you could shoot 2.40:1 for mimimum skew. Good to know. But generally, the only reason why you'd need the extra headroom is A) if you don't know what you want in the first place or B) if you are framing for multiple formats.
 
There is a new thread on Recon about Build 14 & 15.

Jim
 
Just shot some stuff to see if build 13 was working, it sounded sweet in the headphones, BUT my proxies have no sound. what am i doing wrong? when i get info in quicktime player there is no soundtrack listed.. record was enabled on channel 2, i could hear it in the headphones as i was recording.

i was shooting 2k 2:1. is that why it didnt work? im going back to more testing at differnt aspect ratios.. hopefully someone can help. thank you so much for the super quick release of build 13!
 
Okay when i open the proxies in quicktime player they are white and there is no sound.

When I press Apple-J and click extract audio track, the video track suddenly appears and the quicktime player window is no longer white. Simultaneously the audio track (no video) appears in a new window and i can hear the audio from the movie. when i go back to the proxy movie with newly added video image, there is still no audio but the video will at least play. is this normal? is everyone extracting audio this way and then adding it in later or is there a way to get the proxies to play the audio?

also i dont have the new FCP yet but will have it in a few days. does that support r3d with audio?
 
Alright I got it working but its strange.

To get audio and video in a proxy I have to do Apple-J in quicktime player.

then i click extract audio and then click CANCEL (to get the video to appear)

then i disable (uncheck) the audio track and then enable it again.

only after doing all of that will the proxy play video and audio. at least on my computer..

but its workin! its awesome.

Has anyone else had this problem?
 
Zak - Did you upgrade to Quicktime 7.4 yesterday? I did and I am having the same white screen trouble. Go back to 7.3 and see if that fixes your problem.

99
 
But generally, the only reason why you'd need the extra headroom is A) if you don't know what you want in the first place or B) if you are framing for multiple formats.
Click to expand...

I don't know, Ruairi. In my case I have reframed quite a bit in every project I had time and headroom to do so. It's not a matter of not knowing what you want but just of refining.
 
i have quicktime 7.4

just took some audio from a proxy into pro tools and the HISS is still there for me!!!

i just recorded two identical takes, one with the red camera at different gain settings, phantom power with a sennheiser 416 back to back with the mike still on the camera but plugged into my mbox. even at the mbox's lowest gain setting the audio sounds amazing. the audio at all gain settings on the red camera has a hiss. it has build 13. i currently have two reds, im upgrading the second one now to see if the problem is in that camera as well..

any advice? i hope the problem isnt something with the preamps in the camera, im sure that can't be it, i have had better sound than this with a cheap video camera and a beachtek than i have with this.. the hiss doesnt seem fixed at all...
 
Jannard said:
Read/reset is the time to read and reset from top to bottom of the frame. 2:1 has 2048 lines and 16:9 has 2304 lines to read and reset. 12.5% faster.

Jim
Click to expand...

If you are shooting in 2K, is there a Read/Reset speed increase in certain modes?
 
my camera 263 has hiss with build 13. unless its some quicktime 7.4 thing, but i swear i can hear it in the headphones...

my camera 116 has unusable insane sounding audio no matter what build i am using, all kinds of pops and hisses, it doesnt even matter what channel im using or what channel is activated. if i have a cable in channel 3 and only channel 1 is enabled and i jiggle the cable in channel 3 i hear sounds, for example. its just totally jumbled and messed up on camera 116, with build 12 and 13.




is anyone else experiencing hissing with build 13?
 
Jannard said:
Read/reset is the time to read and reset from top to bottom of the frame. 2:1 has 2048 lines and 16:9 has 2304 lines to read and reset. 12.5% faster.

Jim
Click to expand...

Jim, don't know if I'm wrong here....

But isn't the skew dictated by the pixel/line clock.
Then there should be no skew difference between 2:1, and 16:9 post cropped to 2:1, as all the lines are equal horizontal length, so the per line readout delay is equal.

2K cropped is of course different because the line lenght is half of 4k so the readout/reset can be done 200% faster.


The fast response to the hiss problem is very reassuring for futre support. Thumbs up!
 
Anders,
It's the time it takes to scan the height that makes the difference I think.
Yes, 2:1 has the same picture width as 16:9. But top to bottom, where skew manifests itself, will scan faster. (again, I think)
Cheers,
Harry
 
Harry, that doesn't make sense.
Skew is the line to line delay. The data bus limits of the CMOS dictates the fastest possible way of getting the line out.
As the lines are equal in both 2:1 and 16:9 modes those limits are the same and the skew is equal.

The thing about 16:9 is that you have more lines, but that wont affect the line delay if you run the databus at the same frequency.
 
zak forrest said:
my camera 263 has hiss with build 13. unless its some quicktime 7.4 thing, but i swear i can hear it in the headphones...

my camera 116 has unusable insane sounding audio no matter what build i am using, all kinds of pops and hisses, it doesnt even matter what channel im using or what channel is activated. if i have a cable in channel 3 and only channel 1 is enabled and i jiggle the cable in channel 3 i hear sounds, for example. its just totally jumbled and messed up on camera 116, with build 12 and 13.




is anyone else experiencing hissing with build 13?
Click to expand...

I have crystal clean audio on ELVIS (#006x) MR.BOND (#007x) and #0039x on build 13. I assume you've tested cables and connectors?
 
4K modes skew

4K modes skew

Anders Holck said:
Skew is the line to line delay. The data bus limits of the CMOS dictates the fastest possible way of getting the line out. As the lines are equal in both 2:1 and 16:9 modes those limits are the same and the skew is equal.

The thing about 16:9 is that you have more lines, but that wont affect the line delay if you run the databus at the same frequency.
Click to expand...

Anders, you are correct, but we are saying the same thing. Yes the 4K formats have the same line to line skew. But that means as 4K 2:1 has fewer lines than 4K 16:9 it has less skew. If you cropped a 4K 16:9 recording down to 4K 2:1 in post that would be the same skew as 4K 2:1 original recording, but if you cropped a 16:9 image out of a 4K 2:1 original recording it would have less skew than an original 4K 16:9 recording......
 
Concrete said:
I don't know, Ruairi. In my case I have reframed quite a bit in every project I had time and headroom to do so. It's not a matter of not knowing what you want but just of refining.
Click to expand...

If you shoot using anamorphic lenses on 35mm, you don't have the liberty of reframing in this way, you have to get it right in-camera. If you know what you want, and shoot it, you don't have to refine it, because it's already right.

It's kind of a purist approach, but really It's a matter of discipline. In the same way I'd argue that people using step-printing is generally lazy/crappy storytelling, with a handful of examples to the contrary, and people who shoot "coverage" have no idea what they want. Or people who shoot a hundred takes to "find the magic" really don't know what they want either.

R.
 
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