Aaron Neitz
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After Effects Coin
Forum Replies Created
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It’s definitely something that took me by surprise. I’m going to wheel in a different BVM this weekend and triple check, and hope my Sony color probe hasn’t gone the way of the dodo.
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2) yes, you can have two computers read a single firewire drive. (one computer connects to the other over Ethernet and mounts the drive.) The drive needs to be fast enough, however, to serve video to 2 sources (like a G-Raid over FW800)
3)No. But he can work on a duplicate copy of your FCP project and export XML’s of his finished timelines which you can import at the end of the day
4) see #2
5) not sure. but I’d assume you can run FCP 6 on a G4.
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Yup, the 37″ 720p. Being fed component at the moment, though the SDI board had been ordered.
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nevermind, I saw your end conclusions. Final verdict: let’s all work in 1080p and forget NTSC forver. Amen.
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Wait, did you try setting your NTSC sequence to “none” for field dominance? I’ve found that FCP tends to always muck simple transformations when you have a field dominance set
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I think everyone in the Kona room knows better. I never said critical matching. These are client monitors in the back of the room. But you CAN get them dialed in really close to the BVM – enough that you can feel comfortable showing clients footage on the plasma without them freaking out that the red in their company logo is purple.
I really was just wondering if other people were surprised by the pronounced green cast in the white balance on these monitors.
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I know what you’re getting at Bob, but I’m sorry, I can’t agree with you as far as my studio goes.
All our video get transferred from film with a Sony BVM as critical reference at the telecine house. When we get back to our studio I know *my* BVM will match the telecine house within very small tolerances. My clients see exactly what they paid $1200/hour for at the telecine facility.
But they don’t want to crowd my desk, they want to sit on the couch and see their spot on the big client monitor. So I owe it to my clients to match our plasma and LCD’s as close as possible to our BVM. Otherwise they’ll sit in the back of the room and wonder why the client monitor is *completely* different looking that the tube. It makes them nervous that 1) they made bad choices in telecine 2) that you don’t know what you’re doing. You can chatter their ears off about vectorscopes and waveforms, and that they “really shouldn’t judge what you’re doing by the client monitor (so what’s the point of a client monitor) , but I prefer having things match close enough that they can just relax while I finish their product. YES it’ll be a couple clicks off, but it’s much easier to explain to them that a plasma will never be a perfect match as long as it’s as close as possible to CRT – not 9500K, contrast blasting, blacks uber crushed…. You’ve got to have SOME point of reference that you consider the gold standard.
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It’s great to see these smaller companies step up and bring us color accurate LCD’s. The days of Sony-everything-in-your-machine-room are dwindling.
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My thoughts exactly. Set the HDlink to a flat output, and then use the Panny’s controls to get it as close as possible. Then gently tweak the HDlink curves to get those last little bits locked down.
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Can I ask what brand you were using? The Gefen maybe???
We just bought a new Flame system…. and autodesk set us up with an Avenview fiber DVI cable. It’s working great, and I tend to assume autodesk does their homework when buying peripherals for premier systems.