Forum Replies Created

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  • Aaron Neitz

    December 8, 2009 at 9:32 pm in reply to: Particular 2 on CS3/SL?

    Maybe ask in the After Effects forum?

  • Aaron Neitz

    December 7, 2009 at 5:56 pm in reply to: Monitoring split audio

    How about a REALLY long headphone cable running from the machine room to the edit bay 🙂

  • Aaron Neitz

    December 5, 2009 at 5:41 pm in reply to: 7.1 Drivers and AE CS4

    …. went back to 6.03 drivers. Everything fixed.

  • Aaron Neitz

    December 5, 2009 at 1:48 am in reply to: Monitoring split audio

    Aja control panel -> analog tag -> there’s a switch to tell the Kona RCA outputs what channels to monitor.

    that what you need?

  • Aaron Neitz

    December 5, 2009 at 1:32 am in reply to: 24p OMF sync issues

    Thanks for the props Shane 🙂

    I see this happen A LOT with 23.98 and the mixhouse trying to do things at 24.

  • Aaron Neitz

    December 5, 2009 at 12:23 am in reply to: 24p OMF sync issues

    24p or 23.98p?

    chances are the latter. The audio house is assuming 24p and hence your drift.

  • I guarantee you Compressor can do it.

    What you are editing in? What’s your delivery goals for Youtube?

  • Guhhh…. don’t you know it. I’ve never liked Nvidia in the Mac. These have been solid editing machines up until this particular problem…. we bought them used for a great deal a year ago.

    any other solutions? I’ll swap some gear tonight, but we have clients coming in early. would be great if I didn’t have to play Engineer Scott tonight.

  • Aaron Neitz

    December 3, 2009 at 4:10 pm in reply to: Film Workflow Advice

    Yeah, but you’re speaking Canadian 🙂 Here in SoCal best Light means the telecine guy sets a basic look and exposure (based on the DP’s comments) for each setup and let’s it roll through the entire setup. A full color session with clients, fancy lattes, and too many cooks in the kitchen is just called a “telecine session”

  • Aaron Neitz

    December 3, 2009 at 6:22 am in reply to: Film Workflow Advice

    That’s fairly standard. Get all your film dumped to tape as “best light.” Do a fine color grade on anything you produce from it. Just make sure you don’t crush blacks or clip whites on those initial transfers.

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