Aaron Neitz
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After Effects Coin
Forum Replies Created
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For you the cards won’t really help. Final Cut Studio, however, on a half decent G5 system will provide you with PLENTY of real-time color correction, 16:9 cropping, etc…. so on a Quad G5 it will be impressive.
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… how are you feeding the 23″? Via HD-Link or off the G5 monitor card? Unfortunately there’s no easy solution that anyone has come up with… other than: don’t use it for critical color.
According to Apple the Cinema Displays are native 6500K… but they seem cooler than that compared to my BVM monitor (which is calibrated to a T) I’ve eye matched an HDLink setup as close as I could, but I can’t trust the 23″ for color.
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well….it’s very very crammed 🙂
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Everything’s in the machine room. G5’s, digibeta, D5, etc…. there are runs of 12 x 75ohm coax (hd rated) going to each edit bay, plus an assortment of XLR and Cat 5. edit bays have anywhere from 20 to 80 feet of cable between them and the machine room. Currently we’re running 2x 18″ sony LCD with analog vga capabilites – so a 2x VGA to 5 BNC adapter, and at the other and a 5 BNC to 2xVGA adapter. That leaves 2 free BNC per room (one for SDI monitoring – HD or SD and one left over).
Basically if we go with DVD-D monitors, we need to make sure that we can feed a DVD-D signal over existing cabling. Unfortunately everything in runs in PVC tubing under concrete flooring….so re-running new cabling would costs more time and effort than living with otherwise perfectly good 18″ sony LCD.
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thanks guys. I hear Media Manger might have been fixed? That’s really the only feature I need fixed – 5.1 can wait until we get into Intel boxes otherwise.
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Well, what’s your final output? Are you editing or finishing spots? What you’re looking for doesn’t really exist with the Kona… personally I champion DV50 for most editing – captured straight from Digi over SDI it looks GREAT.
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Hear hear! I HATE the nesting function. It’s a surefire way to get you into BIG trouble.
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that’s a problem we’ve had with the Io forever. no workaround except turning it off. great piece of gear otherwise….
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But you’re getting glitches IN final cut? I only see them outside of final cut. i can’t pin down anything… we’ve got a feature film at DV50 @ 23.98 that hasn’t had ANY problem compressing… I originally thought it was the codec.
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The only way is to 133% it. But it’s not really “scaling” it up. You’ll notice that interlace stays on fields and if you were to crop in AE and do a comparison, it should be full res in FCP even with 133. Then you can pan/scan with the X motion tab. At least, that’s what we’ve done on the last couple anamorphic projects. Looked pretty good on a BVM.