Brad Bussé
Forum Replies Created
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Thanks, unfortunately, while I’m working in a Mac/FCP/ProRes workflow, we’re trying to find hardware that will work for capture on an existing Windows box….
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Does it allow you to capture to ProRes on a Windows box? I know that ProRes could be read on a PC in the past, but not saved as ProRes.
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Has anyone used the Blackmagic H.264 Pro Recorder?
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Thanks, I guess my thinking is that, yes it’s a YUV codec, but ultimately the end user is largely going to be viewing on an LCD, so the YUV codec is being converted to RGB via Quicktime, correct? I wonder if an sRGB calibrated iMac display is accurate enough to master Quicktime/Flash encoded videos intended only for the web. Obviously it won’t account for people viewing on a CRT or plasma via a PS3, or people with higher than 72% NTSC gamut (although is that a concern, since it’s being viewed in an sRGB color space instead of rec. 601 or rec. 709?).
“Only out of the KONA you are getting a proper picture. No from the GPU.”
So even if you’ve rendered out the real-time GPU FX in the timeline, you’re saying the GPU’s representation of the Canvas is inherently inaccurate? Is this just in relation to the color space, or does it also relate to an inaccurate display of sync between the video in the Canvas, and the audio out of the 3.5mm audio jack hooked up to reference monitors? -
Anybody?
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Anyone running off of a domain profile?
I’m also wondering; when I did the 8 hour install of FCS, I did it in my domain profile, which by default gets installed per user, rather than for all users. If I want to enable my local profile to run FCS, is there a way to link that profile to the FCS intallation without having to install the whole 60 GB, 8 hours install AGAIN into my local profile? I’d like to run the same projects on the local profile to see if it has the same issues locally.
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Oh damn, I didn’t know that the 150 doesn’t do variable framerates! So there’s no way to hack it to shoot say 2 fps (non-interleavometer)?
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Thanks for the response Walter. I know that a lot of shared edit facilities have been using these, but I’m surprised to hear that you’ve been using it that long without running into any issues–especially given the nature and extent of your work.
I first started considering an ethernet storage device when I read Bob’s article about how to set one up. I think at the time my concern was that there was a limit due to the maximum of having quad ports, which ultimately limited the access speed of each individual workstation to 70 MB/s (correct me if I’m wrong). Is this still the case, and has anyone run into a problem with these rates? That seems really slow to me, I mean obviously you can’t run a single stream of uncompressed HD, and isn’t that about the same sustained rate that you can get off of a single internal secondary drive, even just a fast 7200k?
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I’m primarily working with ProRes/HQ, converted from DVCPRO and AVCHD footage from an HVX200 and a planned AF-100. The HVX I’ve always used 720 24p, but I’ll likely be using 1080p for the AF-100. I tend to do a heavy amount of graphical overlays, alpha layers, etc. and use a lot of color correction and 55mm plugins. Generally, I’m not running more than 10 simultaneous tracks at any point in a timeline. Outside of Final Cut, I’ll also be doing some very heavy motion graphics work in AE and compositing in Shake (can you even buy used licenses for transfer legally anymore?). With that work I’ve tended to use uncompressed or animation codec, or sequenced tgas in the past, but I’m transitioning to ProRes 4444.
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Does QMaster still have ISSUES? Even when setting the cores to half of on a local computer, I found that QMaster was pretty much horrible, buggy and always froze up even on just one multicore machine. It was okay when it worked as it should.