Ben Holmes
Forum Replies Created
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I think the ergonomics on 2×23″ is better – the eyeline is not so high, and you can more efficiently seperate the windows – most people prefer to put their bins on one monitor, with the audio mixer and waveforms possibly, and the viewer/canvas/timeline on the other. It also looks better for the clients 😉
Many people prefer the Dell 24″ (not 23″ as previously stated) as the screen is as good as if not better than the Apple screens, and they are nearly half the price – could save you a few thousand dollars. They have one other killer app – video inputs to allow greater flexibility in a post environment. You could send a tape deck BITC to one, or router output for preview etc – obviously I’m not suggesting using one instead of a tube for final output, but video can be sent to them to allow client previews – or to watch TV during a long render!
Hope this helps.
Ben
Editec Broadcast Editing Ltd
EVS & FCP specialists for live OB operations. FCP systems just used on Sky Sports coverage of the Ryder Cup – live from the K Club.
“The Supercar Run” now available for international distribution from http://www.electricsky.com
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Ummm – actually not sure if Perian will allow you to export the .avi or just let you play it. See how you go…
Ben
Editec Broadcast Editing Ltd
EVS & FCP specialists for live OB operations. FCP systems just used on Sky Sports coverage of the Ryder Cup – live from the K Club.
“The Supercar Run” now available for international distribution from http://www.electricsky.com
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It’s only a start – but do you have Perian?
Go to http://www.perian.org
This is a component for quicktime that should allow QT itself to play your .AVI’s.
Then export them from QT Player to a suitable QT format (depending on original quality – DV Stream might be a good option for FCP, as it will ensure good RT Colour-correction) and edit/CC in FCP, then export via Compressor for DVDSP – some people just export MPEG2 instead of using compressor – horses for courses as far as I can tell.
See how you get on – .AVI files can contain any number of codecs for audio and video, so it may not be as straight-forward as that….
Ben
Editec Broadcast Editing Ltd
EVS & FCP specialists for live OB operations. FCP systems just used on Sky Sports coverage of the Ryder Cup – live from the K Club.
“The Supercar Run” now available for international distribution from http://www.electricsky.com
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[Paul Ladd] “we do have the 24″ iMac with the Intel Core Duo. This has a miniHDMI out, if possible we would like to capture PC screens from this cpu”
I assum you mean mini DVI out? I would imagine you could use a DVI-HDMI cable to convert this and use Blackmagic’s HDMI cature card to do your screen-grabs. However, I suspect you’ll find that it only accepts a small number of screen resolutions – it’s really designed for HDMI video at specific resolutions. I think you will find this an unsatisfactory and frustrating solution, but why not check with BM what the card supports.
Far better would be to get a DVI to SDI converter – AJA make one, or Gefen, or any similar Scan Converter device. It’ll yield better results. Then get the Kona LH card which’ll give you the ability to capture HDV as DVCPro HD via the component HD outs on the HDV device – it looks great. The same card will also capture your computer footage at DVCPro HD if you want or SD or HD. Total spend around $2000 I’d think.
[Paul Ladd] “Also, we may upgrade our G5 in the near future, I am assuming that all capture cards can be inter-changable between cpu’s, is this correct?”
Yes – your Quad is PCI-E, like the new Mac Pros, so you can keep the card and use it in your new systems.
Good luck!
Ben
Editec Broadcast Editing Ltd
EVS & FCP specialists for live OB operations. FCP systems just used on Sky Sports coverage of the Ryder Cup – live from the K Club.
“The Supercar Run” now available for international distribution from http://www.electricsky.com
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Forgot to say: The reason you can’t just transfer files directly via the Mac and EVS is that, whilst FCP supports M-JPEG, the MXF wrappers on the EVS files are proprietory, and need converting before transfer to the Mac – and vice versa.
There is also a piece of software available called PictureReady which allows you to capture video and edit with it before capture is complete. It may be an ideal way of doing all this on a Mac – I would imagine you’re talking about no more than an hour for a venue to fill up – maybe two? Pete Wiggins, who often posts here, has more experience of this software, and may be able to help.
Ben
Editec Broadcast Editing Ltd
EVS & FCP specialists for live OB operations. FCP systems just used on Sky Sports coverage of the Ryder Cup – live from the K Club.
“The Supercar Run” now available for international distribution from http://www.electricsky.com
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Tim
We’re EVS and FCP specialists in the UK – always happy to help…
Firstly, transferring a 20 sec clip from a Mac to EVS is most easily achieved by simply playing it off the timeline via an SDI card into the router. It’s not as technically clever as using MediaXchange, but it’s a lot quicker – and EVS would tell you that themselves. Using the EVS transfer via an Xfile is only truely useful for longer edits or larger pieces of footage.
If you have a ‘beauty shot’ camera in the arena you could use for the timelapse, and enough storage, I would be tempted to capture video in large chunks to the Mac and speed it up to timelapse it on the Mac itself. Or if your EVS is an XT running version 7 or 8 of multicam, loop the beauty shot few times at 4x speed on the EVS itself – of course both these options tie up the Mac or EVS during these processes, but both may be easier than importing SLR images and manipulating them in FCP. If this is a process you are familiar and happy with, then apologies – go with what you know!
Any more help we can be, just ask.
Ben
Editec Broadcast Editing Ltd
EVS & FCP specialists for live OB operations. FCP systems just used on Sky Sports coverage of the Ryder Cup – live from the K Club.
“The Supercar Run” now available for international distribution from http://www.electricsky.com
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Got a friend picking me up one in the US – he gets back on the 24th December. Merry Crimbo!
Going for the 2.33 spec 15″ with 2Gb of Ram – nice touch from Apple. Unfortunately if you want to up it to 3GB (the max due to intel architecture – as it is with the imac) you need to buy a 2GB stick – at $679 from OWC. Ouch. I think 2GB should do me fine for now – after all it’s only a laptop! (Flame me now).
Ben
Editec Broadcast Editing Ltd
EVS & FCP specialists for live OB operations. FCP systems just used on Sky Sports coverage of the Ryder Cup – live from the K Club.
“The Supercar Run” now available for international distribution from http://www.electricsky.com
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The point I was making is that RGB+Alpha will show you a red version of a still with no alpha (it overlays a red frame over the still to show that there is no alpha on the clip). This red colouring should go when you select RGB only. If there is no change when you toggle between these states, you have a problem. Any clip (without an alpha) opened in the viewer and viewed as RGB+Alpha will display red – that’s why I suggested you check this.
I would suggest starting by trashing your prefs – I believe this can help. I would be suprised if this is hardware related.
Ben
Editec Broadcast Editing Ltd
EVS & FCP specialists for live OB operations. FCP systems just used on Sky Sports coverage of the Ryder Cup – live from the K Club.
“The Supercar Run” now available for international distribution from http://www.electricsky.com
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So you are saying the image doesn’t change when you toggle between RGB and RGB+Alpha? That’s odd – it should. Have you tried changing it on both the canvas and viewer?
Otherwise, no idea.
Ben
Editec Broadcast Editing Ltd
EVS & FCP specialists for live OB operations. FCP systems just used on Sky Sports coverage of the Ryder Cup – live from the K Club.
“The Supercar Run” now available for international distribution from http://www.electricsky.com
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The rainbowing does sound like a monitor issue – sounds like you have a magnetised tube. Check there are no speakers or similar near it. If it’s a pro monitor, de-gauss it.
Ben
Editec Broadcast Editing Ltd
EVS & FCP specialists for live OB operations. FCP systems just used on Sky Sports coverage of the Ryder Cup – live from the K Club.
“The Supercar Run” now available for international distribution from http://www.electricsky.com