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BMD to support AVID !!!!
Dear All,
Are there any planes for BMD to support editing for AVID express realtime !!
the way BlueFish 444 does !!Thanks,
Amr -
8 Replies
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Amr –
where you get such false information is beyond me. Bluefish DOES NOT support AVID Xpress realtime, nor is there ANY HARDWARE – even from AVID – that works with AVID Xpress Pro except the horrible AVID Mojo box. Your false information is dangerous. Repent !from the Bluefish site (and there is no info from the AVID site) –
January 20th , 2005, Bluefish444 Sth. Melbourne, Australia, announced today that it has collaborated with Avid Technology, Inc. to create an uncompressed HD SDI 10 bit RGB 4:4:4 DPX workflow solution to transfer uncompressed 10 bit RGB files seamlessly between the Sony SRW5000 VTR and the Avid -
I would take everything that BlueFish says with a grain of salt. As far as AVID goes, I doubt they would ever
allow a 3rd party card to work with their DV line of products to cannibalise their high end products. It would be suicide. -
Pretty harsh. I’ve cut everything from animation to a $40 million studio feature with the Mojo and never had a problem with one – vary cool device with excellent realtime performance. The only thing horrible is that it only has consumer connectivity and you have to spend an additional 25 grand to get SDI, balanced audio and real HD with the Adrenaline.
That’s horrible and that’s why FCP is kicking Avid’s butt here in LA – for the cost of an AdrenalineHD box alone you can get the best quad Mac, 30 in. display, Kona 2, 7TB Xraid, software, edit console, Aeron chair, studio monitors and a 50″ plasma.
Lance Bachelder
Southern California
Cow Forum Host- Magic BulletApple Dual 2Ghz G5 ATIx800, 2.5GB RAM, OSX Tiger FCP Studio
Intel P4, 2GB RAM, PNY 6600GT XP Pro – Vegas 6 Studio -
Lance writes –
Pretty harsh. I’ve cut everything from animation to a $40 million studio feature with the Mojo and never had a problem with oneLance, I have NO IDEA of what you are talking about. You must be the classis “off line” editor, or “creative” editor. The AVID Mojo is Composite or Component only. It allows you to connect to a Sony Beta VTR – but when you do, you cannot see the output of the AVID, unless you loop the YRB signal thru the component signal of a Sony Pro monitor. There is no secondary output. And if you run in composite only, you can’t input from your Beta VTR. The typical hookup is YRB in and out of the Beta VTR, and then you monitor E/E thru the Beta VTR into your TV monitor. I work for everyone from the hi end to the lowest corporate users, and ALL OF THEM find this completely unacceptable. This is in addition to the fact that the cables keep falling out of the Mojo (they originally designed this product for composite and S-Video, and when everyone complained they could not use a beta, they jury rigged up cables to go from YRB to composite and S-Video). And as you mentioned all audio is unbalanced -10dB input/output. There are no BNC’s, and of course, no SDI. You can never use Firewire 800 drives to get 1:1, and the only resolutions available to you are 1:1, 15:1 and DV25. This is NOT a professional product. Just becuase it cuts well, does not mean that it interfaces well with the professional world. This product was designed to be a workstation for a producer in a newsroom that uses AVID Unity. It was not designed to be an editing station as you are using it – or as any FCP user would use with a Blackmagic or AJA product.
The AVID MOJO sucks. Plain and simple. I guess you don’t have much of a broadcast delivery demand, as you are off lining 40 million dollar features, that are simply matched back to film later.
Yes, the Mojo is HORRIBLE. You might as well throw out your Beta and Mojo, and get your off line tapes to DSR1800 with iLink, and just use the firewire port on the AVID – and monitor right thru the VTR.
There is a good reason Blackmagic and AJA have done so well.
Bob Zelin
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I have to agree with Lance on this one Bob.
I know dozens of broadcast shows that used Mojo successfully. And many of them are fond of the Mojo for ingest/viewing and rough assembly workflow. There are feature length docs and film also edited with Mojo.
I think people are disappointed with it because they expect Adrenaline connectivity which Avid never tried to pitch the product as. It was meant to be a mobile solution for editors and producers (remember the laptop in the ads when it was released??).
Anyway a common workaround for the lack of connectivity is to plug in a DSR-1800 via firewire and you got everything you need.
Most editors who as worked on Mojo I know would rather work with Mojo than a XPro software only system. With Mojo you get RT client output esepcially with 24p based project.
Do we need Mojo SDI/XLR ?? SURE!!
.02
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Just to correct my comment:
https://www.bluefish444.com/downloads/workflows/Bluefish444_avid%20Workflow.pdf
thanks guys,
Amr -
Just to correct my comment:
https://www.bluefish444.com/downloads/workflows/Bluefish444_avid%20Workflow.pdf
thanks guys,
Amr -
Ever tried a component to SDI converter after the mojo? The video is WAY too greenish to be good. Connecting the component to a deck directly gives better quality.
-Yves
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