[Bill Vincent]

Okay, I just had the strangest experience… my past actually reached out and helped me in the future! I just got Premiere Pro and wanted to run in 64 bit mode. When I did, my LaCie drive disappeared! I started poking around for new drivers, and stumbled on this thread from over a year ago. I didn’t even remember posting, but there was my name, along with a link to the driver page I needed to get the updated 64 bit driver!

Now how often does THAT happen??

🙂

Bill

[Bill Vincent]

I’m trying to get exactly the same answer – because what I have right now are .264 files that have been created in Compressor that I want to use with Encore to create a blu ray disc – but I want chapter markers, and don’t want Encore to re-encode the .264 files.

I really don’t want to have to bring the Quicktime ProRes files into Premiere and do the dynamic link and have it re-encode all those files again, nor do I want to have to add the chapters again manually in Premiere before sending it on to Encore. I hope there is a solution – anybody know how to handle this?

Thanks!

[Bill Vincent]

Hi Brian,

I also have Pro Tools 003 mixer and would like integration with FCP… did you ever have any success with this, or find a mapping program that makes it easier?

Thanks in advance,

Bill

[Bill Vincent]

Hi Richard,

First of all, thanks very much for your thorough reply. In terms of being able to meet broadcast specs I understand about the quality card and monitor, and won’t attempt to dive into the discussions over at Apple Color without proper equipment and preparation.

However, that all being said, standardized color in the real world shouldn’t be so difficult to achieve. What you are basically saying is that without having a broadcast standard monitor and broadcast quality graphics card, it’s impossible to calibrate a monitor properly. Why don’t monitors come standard now with a proper test pattern and user instructions to self-calibrate? That’s a somewhat rhetorical question, but still it doesn’t seem like too much to ask. Why should consumers (and prosumers) be left (literally) to their own devices to attempt to have a calibrated monitor? Most likely because if monitors were calibrated identically and correctly, the deficiencies in various monitors would be painfully obvious. So much for really helping the consumer – it’s all about the wow factor in the showroom, not about accuracy and actual color depth.

Anyway, thanks again for the reply. I’ll just have to wait until I can afford more equipment that I can’t afford right now to ever feel like I can judge color correctly. Frankly, I’m sick of all of it – it seems like a holy grail that can’t ever be found.

[Bill Vincent]

I have used both the 5D and 7D for video extensively – and I will tell you that I favor the 5D due to the larger sensor and a general sharpness I like more on the 5D. I’ve used the 24-105 lens on both cams, and a 28-55mm and a 50mm prime.

All I can say is that with the 7D I never had a goosebump moment – where I pull the footage up on my HDTV and just am overwhelmed with how good the footage looks right out of the cam. With the 5D I have felt this many times. I really think the larger sensor makes all the difference, but the 7D does have more controllable DOF – so it depends also on how important deeper DOF is for you (and slow motion capability).

I was in a unique situation where I bought a 5D and less than a month later the 7D came out. I thought I’d save money by getting the 7D instead, so I took the 5D back. BIG mistake. I missed it almost immediately. Due to unforseen circumstances and a friend losing my 7D, I was able to replace it with a 5D again. I’m much happier now.

[Bill Vincent]

I’m now digitizing my first big project in ProRes422. I’ll post again soon on how everything is going. Thanks again for the info on being outdated. I found the July 2009 ProRes whitepaper that basically explains the formats now. AIC did work on my MacBook Pro – I’d been using it with few issues. So, when I got this new system I never suspected it might be AIC. Hmm.

[Bill Vincent]

Excellent, thanks Walter!

[Bill Vincent]

Thanks for the help, guys. I didn’t realize AIC was outdated as a good HDV workflow. Is there any recommendation on ProRes? Regular, HQ or LT? Thanks!

Bill

[Bill Vincent]

Thanks for the replies so far. I’m running 10.6.2 Snow Leopard with 6GB of RAM with 2 x 2.26 Quad Core Intel Xeon processors.

The reason I’m running AIC is because it supposedly is optimized for running HDV footage smoothly on FCP (Ironically!) I could try ProRes, I guess it can’t hurt.

As to whether I’m actually dropping frames, I think it’s possible, although I’m not noticing jerky playback.

I’ll experiment more tomorrow, I’ve got a project waiting to be digitized so maybe I’ll try ProRes, although I know the file size will be bigger.

Thanks…

[Bill Vincent]

In talking to LaCie today, the support guy said the four-port card has better overall speed than the two-port. He said typically 100MB per second is good for RAID 5 on the two port card, but could be more like 130 – 150 MB per second with the four-port, just in the way they handle the data differently.

With my 3132 card (two port) I have the LaCie drive on one port and a WD My Book drive on the other. Copying between them I get 80MB per second, no more – I believe that’s the functional speed limit on the WD drive, not the card or the LaCie drive. I haven’t experienced unreliability problems yet copying between drives, but I haven’t done too much testing.