Gary, is Chicago-based digital artist and technologist that specializes in Custom Workflow Solutions for Creative Arts.
I/A 600 DIT and Camera work, Tech Chair for NAB's Director of Photography Conference. ICG Training Committee. Member Since: April 16th 2003 Friends:  Abraham Chaffin  Jon Schilling  Ronald Lindeboom  Tim Wilson | | | | |  | Secret of arriby Karl Dixon 7 months agoHi everyone I have made it my goal to find out what is so special about the software that arri uses to look so good. Please refrain from answering its due to their wonderful parts they are not any dif | Re: Secret of arri
by gary adcock 7 months ago
An understanding of light would be an essential start to develop that knowledge. You could also use the information gained by scanning trillions of frames of various film types, in a wide variety of l
|
| | | | |
| | | | | Multiple Red Dragon Single Remoteby Rihit Patil 1 year agoCameras: 5 Red Dragons Require: Way to trigger them remotely to start and stop recording. DIY or Pro solution sought. So far in mind: via smartphone app, or via infra-red remote, or via laptop, or via | Re: Multiple Red Dragon Single Remote
by gary adcock 1 year ago
Rihit Patil "Require: Way to trigger them remotely to start and stop recording. " Use Foolcontrol or REDremote for this First you have to connect and sync all the cameras with RED's sync cables and s
|
| | | | |
| | | |  | LHe Plus and Closed Captionsby Don Alexander 1 year agoGood day. I am attempting to upgrade my installation of a LHe Plus card. I'm moving to a slightly newer mac pro tower. In a past installation, we were able to use the card under OS X 10.7.5, with the | Re: LHe Plus and Closed Captions
by gary adcock 1 year ago
Don Alexander "I uninstalled 10.3.8 and installed the 10.3.0 package. The closed caption check boxes are available. My experience is encapsulated below; " The LHe often required a manual update to th
|
| | | | |
| | | | | | | | | |
| | | |  | | | | | |
| | | |  | | | | | |
| | | |  | | | | | |
| | | |  | Delivery of large files to clients.by Ed Stevens 2 years agoAnybody out there delivering the final video to clients as a file I'm a wedding videographer, after editing on FCPX, I deliver my clients Blu-rays. I also offer standard definition dvds if they ask fo | Re: Delivery of large files to clients.
by gary adcock 2 years ago
Ed Stevens "I'd like to offer my clients the .mov master file also. " Traditionally that file in not turned over to a client. Especially in your market as a wedding shooter. "I could provide them wit
|
| | | | |
| | | |  | AJA KI Pro Quadby Bob Cole 2 years agoI'm looking for an external recorder which I can use with my current camera (Sony EX1R, with 10-bit SDI 1920x1080 output), as well as with my "next" camera, which will certainly be 4K. I do not have a | Re: AJA KI Pro Quad
by gary adcock 2 years ago
Bob Cole "In today's video world, "future proofing" is a problematic concept. Could you recommend the AJA KI Pro Quad " Honestly, there has been little or no advancement on the KiPro product line for
|
| | | | |
| | | | | | | | | |
| | | | | Arri Alexa Xt lens curve.by Ricky Milling 2 years agoIm editing a project using Alexa Xt lens and its coming our 4:3 Anamorphic 2k. I've import the footage and changed frame size of the sequence to 1836 x 1536 pixels and Anamorphic 2:1 (2.0). When I mov | Re: Arri Alexa Xt lens curve.
by gary adcock 2 years ago
Ricky Milling "Are you saying its normal to see a little bit of curve when using anamorphic lens an i shouldnt worry " There is an inherent optical distortion in all anamorphic lenses, by their natur
+1 |
| | | | |
| | | |  | 80% ruleby Craig Alan 2 years agoIt has been my understanding that a hard drive should not be kept more than 80% full - that it will slow down and be more open to corruption. Does this apply to a Pegasus Raid (or any raid for that ma | Re: 80% rule
by gary adcock 2 years ago
Noah Kadner "Never a bad idea to avoid full drives. That said, 80% is fairly conservative on that large a drive." Even on a larger volume keeping 15%-20% open allows for faster Renders and transfer o
|
| | | | |
| | | |  | Downloading 5k footage timesby Mónica Calderón 2 years agoHi, I'm on a film. And they shot scenes that are 10 minutes long. At the end of the day I have 5 cards to download after downloading almost 12 during the day. They are shooting Red Dragon 5k 4:1 foota | Re: Downloading 5k footage times
by gary adcock 2 years ago
Yes it could be faster, I am able to transfer RED mags at about twice that fast. M nica Calder n "I download the cards to two thunderbolt hard drives." Not all TB drive are created equally. I have see
|
| | | | |
| | | |  | | | | | |
| | | | | Resolution for Aspect Ratio(s)by Thomas Frank 2 years agoHi, anybody know or aware where to find the resolution for the following aspect ratio for 4K 1.85:1 Widescreen 2.35:1 Anamorphic 2.40.:1 Cinema 2.55:1 Cinema Scope 2.75:1 Ultra Panavision 70 3.00:1 Su | Re: Resolution for Aspect Ratio(s)
by gary adcock 2 years ago
Jeremy Garchow "Then take 4096 and divide by the aspect ratio, and that gives you the height." It does not quite work that way as the aspect ratios were devised for Film standards and not digital . A
|
| | | | |
| | | |  | | | | | |
| | | | | AJA IO4K HDMI In SDI OUTby Jeffrey Lonigro 2 years agoI am trying to use the IO4K to take an HDMI input from an on camera EVF(Zacuto) feed into the IO4K and get SDI out to an external monitor. Is this possible I can't seem to get any output. | Re: AJA IO4K HDMI In SDI OUT
by gary adcock 2 years ago
Yes A proper converter (FYI have you tried using a DVI to HDMI adapter on the back of the monitor ) The frame rate and format of the video are as important as the gear when patching signals through de
|
| | | | |
| | | | | 23.98p and 25p in one project?by juergen steinbrecher 2 years agoHey there, I am preemptively sorry if that turns out to be a stupid question, but I can not find a definite answer (or work flow) for my problem in any of the other threats. And it goes like this: I b | Re: 23.98p and 25p in one project?
by gary adcock 2 years ago
juergen steinbrecher "The problem is that my video camera can only shoot in these frames rates:" What is your point There was a time when video cameras only shot one frame rate based on where you bou
|
| | | | |
| | | |  | Editing Red footage on FCP 7by salah adel 2 years agoHey everyone We shot a short film on Red camera (6K and I'm thinking of the best way to prepare it for the editor. Since she want to edit on FCP 7 I was thinking I should transcode the footage to Appl | Re: Editing Red footage on FCP 7
by gary adcock 2 years ago
Lionel Low "FCP 7 only deals with 2k resolution. So you wont get much benefit from a 4k transcode. A 2k transcode would work well. " While performance will be better with a 2K workflow, For the recor
|
| | | | |
| | | | | GH4 will not update to Firmware 2.0by gary adcock 2 years agoOk. My GH4 is stuck on the V.1.1 firmware and I have tired everything to get the camera to update to V2.0 without success. Tired 3 different batteries charged to max 4 different SD cards card in befor | Re: GH4 will not update to Firmware 2.0
by gary adcock 2 years ago
Mike Hinkel "I had the same problem." Yeah, Translations always lack something. going to try using Windows for DL and transfer, sometimes that can work. gary adcock Studio37 Post and Production Workf
|
| | | | |
| | | | | Never worked with RED footage beforeby Mike Mitchell 3 years agoHey everyone, I'm working on a short film pro-bono for some friends. They're shooting on RED and I've never worked with RED footage before, so I know nothing about the workflow process. I've been sear | Re: Never worked with RED footage before
by gary adcock 3 years ago
Mike Mitchell "I'm most comfortable working in FCP7," FCP7 does not support pixel with beyond 4000px With either of those computers plan on waiting a lot while things process render. gary adcock Stud
|
| | | | |
| | | | | | | | | |
| | | |  | Arri to Avid workflowby Trevor Ambrose 3 years agoHi Guys, I'm an editor and I need to decode what a cinematographer is saying to me. He's shooting on Arri and I want to know what to tell the lab in terms of transcoding to create Avid media. Cinemato | Re: Arri to Avid workflow
by gary adcock 3 years ago
Trevor Ambrose "Cinematographer's quote: "I will be shooting with the Arri Amira, so a prores 4.4.4 workflow just like Alexa." Will I be getting the normal DNxHD 36 (HD1080p) media or do I ask the la
+1 |
| | | | |
| | | | | | | | | |
| | | | | | | | | |
| | | |  | R3D Tiff export from Redcine-X Proby Sarah Bright 3 years agoHi guys, I have an R3D file that I need to export as a tiff files but when I export it the tiff are black blank. the other R3D files I've exported with the same settings have exported fine. Do you hav | Re: R3D Tiff export from Redcine-X Pro
by gary adcock 3 years ago
Sarah Bright " have an R3D file that I need to export as a tiff files but when I export it the tiff are black blank." I think You have included the alpha channel in the file and the version of QT you
|
| | | | |
| | | |  | RED Epic export settingsby Daniel Neutzsky-Wulff 3 years agoHi, We recently finished the shoot of a music video shot on RED Epic. I have to export all of the footage for the editor. The footage was shot in: 2K 3K 4K 75 FPS 4K 50 FPS 4K 25 FPS Final output will | Re: RED Epic export settings
by gary adcock 3 years ago
Daniel Neutzsky-Wulff "What should I export the footage to " ASK THE EDITOR. They are the ones cutting the footage why not ask them what they want gary adcock Studio37 Post and Production Workflow Co
+1 |
| | | | |
| | | |  | | | | | |
| | | |  | | | | | |
| | | |  | OSX Mavericks IP over thunderboltby daniel lai 4 years agoGooday Guys, Just notice some new feature added into OSX Mavericks. It's IP over Thunderbolt. Here is the link that state about the features : http: www.apple.com thunderbolt You can read about it unt | Re: OSX Mavericks IP over thunderbolt
by gary adcock 4 years ago
Rick Lang " is in System Preferences Network. On a Mac with Thunderbolt, it shows up when you click the + button to add a network connection." yup, the same place is is for selecting IP over both FW
|
| | | | |
| | | | | 4K lensesby Charles Binn 4 years agoAre there any lenses with a resolution ready for 4K Even the best DSLR Canon lenses have aresolution of 2.200 lines. And we tested a lot of "prime lenses". Some have been better, some worse.... Charle | Re: 4K lenses
by gary adcock 4 years ago
Charles Binn " But if the resolution of a lens is about 2.000 lines for full format." I have never heard of a lens that can truly resolve at that high a resolution, most resolution charts do not exce
|
| | | | |
| | | | | | | | | |
| | | |  | Question concerning Pro Res 422by Jonny Cates 4 years agoI recently shot a large movie project shot with three different cameras in 1920 x1080 30fps (all mov files at this point). This footage combined is around 160 GB, and 160 GB converted to pro res is go | Re: Question concerning Pro Res 422
by Dave LaRonde 4 years ago
No question about it: doing a proper high-quality job of cutting big projects in FCP -- or any NLE, for that matter -- takes a whole bunch of fast storage with fast connections to the computer. Dave L
+1 |
| | | | |
| | | | | Exporting 10 bit uncompressed at 4:4:4:4by pat kelley 5 years agoSomeone has requested an archive file that is 10 bit uncompressed and 4:4:4:4 chroma. Feeling a bit stupid here...I've been trying to figure out how to export a timeline that is both 10 bit uncompress | | | | |
| | | | | WARNING 10.8.2 update Breaks SxS Driverby gary adcock 5 years agoHey everyone. A quick warning to everyone the Mountain Lion 10.8.2 update that came out yesterday has broken the Sony SxS driver that is posted for use with the Sonnet Express Thunderbolt adaptor, Rep | | | | |
| | | | | workflow 1080p50by Johannes Fritsche 5 years agohello, i have a problem with some heli footage im editing in fcp 7. all of the clips are aerials, filmed with a cineflex system on hd-cam sr. as there are different objects to film (landscapes cities | Re: workflow 1080p50
by gary adcock 5 years ago
Johannes Fritsche "my trouble starts with digitising: im using a sony srw-5800 recorder connected to a aja 3g. as i want all of my footage in 25p on my timeline, the playback in the machine is always
|
| | | | |
| | | |  | BMCC alternate workflowby Oliver Peters 5 years agoI've done some testing with the same 5 John Brawley camera raw clips from the Blackmagic Cinema Camera and have come up with an interesting workflow using FCP X. Obviously BMD wants you to use Resolve | Re: BMCC alternate workflow
by gary adcock 5 years ago
Rafael Amador "I've been making too some tests with Photoshop (importing as 8b and 16b) and then bringing the files to AE (difference), and there is no doubt that the .dmg's are more than 8b depth."
|
| | | | |
|
