Andrew Kimery
Forum Replies Created
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The Matrox MXO will be able to turn an Apple 23″ display or a Dell 24″ display (forget exactly which model) into a decent HD monitor. Shane Ross has used it and was able to get his 23″ ACD very close to the Sony HD CRT he normally uses. The MXO also offers HD/SD-SDI out and down-conversion.
-A
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Just to expand on the concept of pre-roll and post-roll, it’s not just for the beginning and end of tapes. Anytime you are shooting always give 10 seconds of pre and post roll at the beginning and end of each shot. And if you are doing a camera move, a pan lets say, hold at then beginning position of the pan for 10 seconds, execute the pan, hold at the ending position of the pan for 10 seconds. Not only does your deck need pre/post roll but your editor does too. You have to give your editor breathing room to get into and out of a camera move. I get tapes back from the field way too often that look like someone strapped a camera onto the head of a Jack Russell Terrier because the camera ops aren’t holding the beginning and end of each move (resulting in typically unusable footage).
-A
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Wow. That is horrible. I’ve only subcliped a couple of times on smaller projects, but I’m so glad I saw this before I made the mistake of doing any subclips on this doc I’m working on. I knew subclipping in FCP wasn’t as reliable as subclipping in Avid, but this is just ridiculous. In an online/offline workflow subclipping is more of a deathtrap than a feature…
-A
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[John Pale] “Not exactly true. Some codecs are very processor intensive….just ask anyone who has tried to capture ProRes on a G5.”
If you want to get nit-picky yer not “capturing” ProRes you are transcoding from another codec into ProRes in real time. I’d imagine capturing ProRes via the AJA box that does the conversion in hardware is pretty painless for the computer itself.
-A
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I’ve always seen it fall in the “enhanced definition” catagory.
https://en.wikipedia.org/wiki/Enhanced-definition_television
-Andrew
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You don’t need a “full blown” card to do it though. If the camera/deck you are using has HDMI out you can get a BlackMagic Intensity card for a couple of hundred bucks.
-A
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[Bob Flood] “Besides, if you have a firewire device to capture video on your internal bus, you have to get a card for media drives, as the 2 cannot coexist”
FWIW, I’ve never had a problem capturing to a FW HDD from a FW source when both are running off the Mac’s internal bus.
-A
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RayRayT,
I’ve seen benchmarks (I believe Russell just linked to them) showing how well new versions of Compressor and AE can utilize the 8-cores by creating “virtual clusters”, and how the 8-cores can help you multitask (having multiple CPU hungry apps going smoothly at the same time), but I haven’t seen any benchmarks showing how will FCP 6 utilizes the 8-cores for rendering and RT streams/effects. So if your main reason for looking at the 8-core is to drop your render times inside FCP 6 you might wait and see if anyone has benchmarks comparing FCP 6 on various Mac Pros to see if the 8-core provides enough of a speed boost to offset the cost.
-A
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You could also give the clip a color label in the browser and it will color all instances of that clip in any sequence it’s used in.
-Andrew
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[Graeme Nattress] “HDV is a touch slower to deal with”
Granted this all depends on the speed of your machine, but in my experience there is a pretty sizable difference in terms of speed between working in an HDV and DVCPro HD. Where I’m at now we have 14 editors working on machines ranging of Dual 2ghz G5’s to first gen Mac Pros and everyone complains about working w/HDV compared to working w/DVCPro HD or DV. We do a fair amount of mixed format timelines, “animating stills”, and effects and working in HDV just makes me want to gouge my eyes out sometimes. We also have some random problems w/HDV that are specific to our workflow and that doesn’t help matters either.
-Andrew