Andrew Kimery
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If you have an HD monitor/TV w/HDMI you could get the Blackmagic Intensity card ($250). I don’t know good it would be for color work, though. The card can also transcode to DVCPro HD on capture (assuming your camera/deck has HDMI) if you don’t want to deal w/HDV in post.
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[b]What I am trying to do is have redundant backup and increase system performance, is this a good solution?[/b]
Just to split hairs here, “redundancy” and “backup” aren’t the same thing. For example, running a mirrored RAID gives you redundancy (if a drive fails that’s okay because it has a “twin”). Copying all your media onto an external HDD at the end of the day and taking that HDD home w/you gives you a back-up (if a power surge fries your computer + RAID that’s okay because all your files are on the back-up HDD w/you at the house).
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Just to throw in my 2 cents…
Avid was the first NLE I learned (my first experience w/it was back in 1998 on an MC Express) and until 8 months ago it was the only NLE I used in my day jobs (although I purchased FCP back in ’02 and have been using that are small side projects). What’s worked best for me is to have an “Avid” side of my brain and an “FCP” side of my brain and I never try to mix the two. I don’t try and force Avid to behave like FCP and I don’t try and force FCP to try and behave like Avid.
Even though FCP’s interface is easier to grasp than Avid’s I’d recommend taking a class to learn how to best leverage FCP’s strengths. Where as Avid’s “my way or the highway” approach makes the learning curve more steep, it does force you into a pretty tried and true workflow. On the flip side, FCP’s flexibility lets you better tailor the workflow to your needs, but if you aren’t careful it will give you enough rope to hang yourself with. 😉
There is a new website called Avid2FCP that is specifically designed to help out Avid editors who are using FCP so you can check out that as a resource as well. https://www.avid2fcp.com/?p=35
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This doesn’t address your main Q, but if you are outputting to DVCAM there’s no need to work in an uncompressed sequence as it all just gets smashed down by the DV compression in the end.
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[Tony Alznauer] “There are plenty of clients who may not know how good something can get and just ask for their projects to look their best. If every kid out of film school has these tools there will be a large number of clients who settle for what they think is a properly color corrected project, thinking they are getting the same thing for much less.”
But how is this any different than everything else that’s happened in the “digital revolution” that’s changed the publishing, still photography, video, music, and film worlds forever?
I seem to remember many FCP users basically telling Avid users who complained about the influx of “hacks” using FCP ruining the industry that one must “evolve or turn into a dinosaur” and that “if you are good you have nothing to worry about.”
I guess I find it kinda funny that some people who shifted to FCP because it offered hi-end features at a lo-end price are, now that they are more established, complaining about Apple offering products with hi-end features for lo-end prices.
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To split hairs here, Avid’s Interplay would be more along the lines of Final Cut Server as ISIS is pretty much a newer and more feature filled version of Unity, AFAIK.
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I have to agree w/the others in this thread in that I disagree w/your opinion about Color in this aspect. I’m sure when Final Touch was released there was someone that recently purchased a DaVinci who made comments about Final Touch similar to your comments about Color. The people “up the hill” complain that they will get under cut and the people “down the hill” are excited because they get access to tools they never thought they could afford.
Lots of people own pen and paper, but that doesn’t mean they can all be published authors.
-Andrew
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decloux,
I still don’t understand how your hardware/software purchased in Jan is now “crap” just because faster computers and a new version of Final Cut were released? If it was good enough in Jan why isn’t it good enough now?
Also, if it makes you feel better the first update to the new software probably won’t happen for 2-3 months after it starts shipping and I wouldn’t recommend upgrading until then. So you paid in Jan, and then a “safe” version of Final Cut is out around July, so now the difference is 6 months not 3 months. I know that may sound odd but that’s how I look at new software and 1st gen hardware. I won’t consider buying it until the first round of updates goes by.
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If you are “stuck” w/the editing that “maybe” will serve your needs why did you even buy it? How did your needs dramatically change since Apple announced the new software? And how did you research the product for 3 months and not discover a major upgrade was most likely coming at NAB 07?
IMO the upgrade price is inexpensive and I only use my personal FCP machine for occasional, no/lo budget side projects.
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“Isn’t it like the search feature in Windows? 😀
If you name it right and know the name of what you are looking for, just type in the search box and hit search. Hehehe”If that analogy was going to be made it would work more like the “spotlight” feature in OSX which is more more powerful than the search/find feature in Windows. 😉 A normal desktop level search can’t utilize metadata and can be pretty slow compared to searching done in database apps (which is essentially what FC server is). FC server won’t be needed by everyone (especially smaller shops), but I’m looking forward to seeing what it can do as organization by folder and filename is limiting and clunky.
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