[Ben Holmes]

If you kept the DVD image it would be no more than 9Gb, more like 4gb I’m sure.

Media managing a timeline as ProRes files would give a lot of latitude as well – probably get each project down to 50gb

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[Ben Holmes]

Hi Pete

Used the AC-7 Pro app in anger last week, and its very impressive. On an ad-hoc network, there was almost no lag (none noticeable anyway) and it is multi-touch. JKL style playback controls work, as does the jogwheel, although I never used it. Setup was very easy, and it was very reliable all week.

Only issues were some ‘sticking’ where fader levels were carried over from one clip to the next. Not sure if this was a setup problem, I never had time to get to the bottom of it. Also, fwiw, there is no stereo panning controls. Not a major issue for most video editing though…

If you haven’t already, give it a go. I was impressed, and it’s much more of a solution than air display, which I was thinking of trying for CC…

Cheers,
Ben

[Ben Holmes]

First – let me make it clear I have never tried this – so this is speculation.

There is no firewire connection on a PS3 – so I’m not sure how you think you can capture via it.

You could try an HDMI output from the PS3, into an HDMI capture box like the Intensity, or IO express. HOWEVER, as the HMDI output on a PS3 has HDCP copy protection on it (the scourge of the modern world – DRM hardware) I would expect some problems, like no signal. Not sure about games, but I’m pretty sure a movie would not play back via HDMI to a non-HDCP compliant device.

If you want to be sure of capturing video from a game, the most guaranteed option would be to use a FCP with an analogue capture card, and capture component video and analogue audio via a component video cable (available from all good retailers). At least that would avoid any HDMI compliance issues.

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[Ben Holmes]

Is the option for hard drives going to sleep off in energy settings? If it is, I’d suggest trashing prefs.

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[Ben Holmes]

Jobs is a saleman first and foremost. He knows FCP needs selling right now, and knows EXACTLY what the fallout from one of his emails is – so I’d be wary of reading directly into any of this.

What we can say is that competition is a wonderful thing. I’m invested in FCP like others here – I have a number of systems, a hire business and clients who’ve taken years to switch (even partially) from AVID to FCP. Whilst they are not about to suddenly switch to PPro, others will – this will ensure that Apple works harder and faster to make those fancy Mac Pros finally realise the power within them.

And when they do, I’ll finally buy some newer Mac Pros to take advantage of it. And Apple will get a nice fat sales boost.

See – everybody wins!

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[Ben Holmes]

Unless your DVD is exempt for educational purposes (and I’ve no idea if that’s even possible, but you can distribute music for teaching purposes under certain circumstances) I don’t recommend even pursuing this – it’s a long winded and expensive process, which is why broadcasters have blanket agreements for licensing. You have to contact the record label for the artist directly, and most of the time you won’t like the answer.

Have a look at a halfway option, Pumpaudio, where you can license music, some from actual artists with lyrics, or royalty free sites like shockwave sound.

Whatever you do, don’t hand a client ANYTHING without licensing in place.

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[Ben Holmes]

Yup – one looking for a bit of publicity based on the wording. The event has been removed from the listings,

If Appke had anything planned, it would issue proper invitations.

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[Ben Holmes]

https://www.9to5mac.com/Apple-NAB-2010-Final-Cut-Pro-4-894598534?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+9To5Mac-MacAllDay+%289+to+5+Mac+-+Apple+Intelligence%29

It certainly seems official. However, I suppose it’s possible it’s just coinciding with new hardware releases, rumoured for this week. I’d love to think it’s fcs with kuda support however…

[Ben Holmes]

My own brief experience of it was painful – it’s also used in AVID>EVS integration. Unity is an overpriced nightmare as well.

Have you looked at the universal codec option from Editshare?

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[Ben Holmes]

Although not ruling out a Kona card or driver issue (which you could obviously check by swapping the card for another in your facility) it also sounds like the kind of problem you get when the settings are incorrect somewhere – either incorrect capture settings, or incorrect deck settings – so what the Kona is seeing is in some way ‘non-standard’. If you’re having the exact same issue in another suite I’d take a good look at the deck – although I’m not sure how the SDI signal can be fine for Uncompressed and not for ProRes.

Could this be as simple as a clash in the capture preset and/or Kona setup? Is the Kona detecting 29.97 from the deck? Sometimes it’s the obvious you overlook…

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