[Ben Holmes]

Yup – I’ll come back to LaCie when the build quality has been improved – especially on connectors.

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[Ben Holmes]

Barefeats are quick to add they need to do further tests. BUT a) they have a good track record on benchmarking and b) they were performing exactly the same test in each version – so whether or not it’s the right comparison, at least it’s a fair comparison.

I’ll be watching carefully for a follow-up, but anecdotally I think they’re right – Motion feels sluggish to me even on simple HD projects, and Compressor is slooooow…

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[Ben Holmes]

That’s the link I put in the first post Warren….

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[Ben Holmes]

I’d hope so too Jeremy – Although, I fail to see what Apple could have done to mess up encoding in Compressor – as I said it’s just a front end on some encoding maths. Maybe it’s a quicktime issue…

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[Ben Holmes]

Oh – Forgot to mention the franky scary Motion performance test figures as well.

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[Ben Holmes]

Have you installed the Multibridge Pro preference pane? Have you checked the settings are correct? Do you have the Blackmagic presets in your capture presets list?

Please provide a little more information and I’m sure people here can help.

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[Ben Holmes]

[walter biscardi] “I’m going to start switching over our shop, slowly, to all Apple cinema displays. “

So glad to see someone else say this – I was an advocate of the Dells etc., but I’ve just seen too many inaccurate monitors installed by resellers to say this any more.

What you get with the ACDs is consistency and clarity. And frankly, you will have to prize my 3 older 23″ ACDs out of my cold dead hands – most of the time I trust them more than my video monitoring.

I find the wider issue of iMacs interesting now – there’s no doubt there’s a place for them in an editorial role for larger shops – purely because the displays are good enough for pre-final grade work. I would continue to question their use in single setups. Here are the reasons for going Mac Pro:

1) Upgradeable for memory, gfx card and storage.
2) Affordable PCI card options for video output.

I would prefer to buy the cheapest Mac Pro and fit a Blackmagic intenstiy for viewing on an HDMI screen, than work off the canvas on an iMac. It just does not compare.

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[Ben Holmes]

Another thumbs up for the Pioneer and internal SATA cable.

Only issue I’ve ever had is the drive opening each time I switch the Mac on – I disconnect it when it’s on hire so as not to scare the natives…

It’s also never coaster’ed a BD-R, and burns a 20Gb Blu-Ray image in about 15 mins.

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[Ben Holmes]

Are your RT playback settings wrong? Is the canvas an awkward size (below 100%)? Are you using high quality scrubbing?

The Canvas WILL NOT give you full quality playback, and you will find that gfx played back on a proper monitor will look a lot smoother – whatever your experience has been before.

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[Ben Holmes]

Simplest answer – in 1080i/p you want to work in ProRes. ProRes HQ, as has been detailed here on numerous occasions, is not required for anything below 2k timelines. ProRes ‘standard’ is still 10bit.

In order to do this, you will have to render the RED footage out as ProRes. You can do this yourself using REDCIne and the excellent Clipfinder. Have a look over on REDUser to see workflows.

Some people are now rendering out RED footage in ProRes444, which is 12-bit, and in theory gives greater latitude in grading, but with the advantage of dropping into a standard ProRes timeline. Genuinely – I would not bother.

Although you will have to settle on a ‘look’ for your RED footage, or a neutral ‘one-light’ grade of the material in REDCine before you render it out to ProRes, not giving the full latitude of native R3D grading in Color, the benefits to you of being able to mix the HDCAM and RED footage in a very high quality codec outweigh any possible problems.

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