Brian Mccartney
Forum Replies Created
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I would have to go along with Chris for the most part. I just got one of these last month because I had a tricky sound mix I was dealing with and thought the BCF2000 would be my salvation. It works, and really did what I wanted it to do for the most part. I needed to be able to preview a bunch of different mixes in realtime and having a control surface helped a bunch. But it is noisy and a bit distracting at times. I think the Mackie Universal control would have been a better choice but at 5 times the price I think the Behringer was a bargain. You DO get what you pay for though…
The most recent version has the firmware onboard to emulate Mackie control or Logic control so no need for that 3rd party installer. You just have to hit a couple buttons on power up to get it into the correct emulation mode. I had little problem getting it set up and working.
So yeah, probably more of a toy than a genuine professional tool. But if you can put up with the noisy low resolution faders and you absolutely NEED a fader control surface, it can work in a pinch.
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Same thing happend here. I was launching the AJA control panel from the dock but it wouldn’t open. I guess the dock icon was pointing to the wrong control panel after the upgrade to 4.0. Just go into your applications folder and find the AJA Control Panel program there and open it. That should do the trick.
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The desktop would be the way to go if you don’t need the portability. Being able to install a nice graphics card, capture card, more RAM, internal array, I think it is a compelling reason to go that way.
I too made the switch from Premiere to FCP and it was a very good move for me. Like you, I needed to make myself more “marketable”. There were some other factors too but all in all it has been a very smooth transition. PPro and FCP are probably more similar than they are different. For me switching over was no big deal. I run a MacPro workstation with the AJA LHe and I also have a MacBook Pro (which I dual boot into XP for the rare occasion I NEED to use PPro)
Good Luck!
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I would tend to agree with John. If she actually has to buy a copy of FCP to continue work and THEN try to move the project over, it just might be a more of a pain.
That being said, she still has to install Boot Camp, Windows, and then Premiere on her MacBook Pro. Might be easier than moving from Premiere to FCP but it would all depend on how comfortable she is with that process. It’s not an easy decision.
To those saying Boot Camp is beta… Yep, it sure is but I have been using it on my MBP since day one and I run Premiere and Vegas. Due to the nature of my work I need to be able to have a PC and a Mac, it is VERY convenient to have both on one machine. I personally think it does just as good a job as the Lenovo t60s (we have 12 of them set up for mobile production work)When you boot to XP with BootCamp your are not using any kind of virtualization, it IS a PC at that point. On top of that, the latest version of Parallels will allow you to run OSX and then open your Boot Camp partition in Parallels. Not good for work in Premiere because of speed in the virtualized environment but a handy tool none-the-less.
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I have an FCP system and a Premiere Pro system running side by side and I often take DV AVIs from the PC and edit on the Mac. I will sometimes take DV MOV files from FCP and cut them on the PC. The DV MOV files are a bit sluggish in Premiere but it is still useable.
I think the hardware is key. The FCP system is a MacPro quad Xenon, the PC is a 3ghz P4. It is understandable why the PremPro machine gets a bit bogged with the QT files.
Sometimes the Premiere Pro and After Effects is the place to do the work, sometimes FCP is.
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You might look at a company called Clock Audio. They make a line of microphones that they call “RF Friendly” we are currently trying out a couple of their mics for use in a similar situation as yours.
Good luck
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You will need to set the deck’s firewire port to DV downconvert. The device control in FCP in log and capture will not work if the firewire port on the deck is set to HDV.
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I have an M25U deck but I think the process is the same. Make sure that the Kona control app has the component analog video setting checked for input and also the make sure analog audio is checked. In FCP create an easy setup based off the DVCProHD 1080i settings and change the deck control to Apple Firewire. You may need to change the deck control offset (my deck uses a 4 frame offset). Not sure if I am leaving anything out but The AJA website actually has a decent white paper on goign from HDV to DVCProHD, that should give you a very good idea of how it all works.
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If you use the Kona LH card you do not need any other converters. The LH has analog component in and out. If you use the Kona 2 or 3 you will need an analog component to SDI converter since those cards only have SDI for inputs (but they do have analog component out). The big difference between the the Kona 3 and LH is that the Kona 3 will do up, down, and cross conversion. The Kona LH will only do down conversion.
I have been using the Kona LHe in a Mac Pro for 4 months now and find the HDV to DVCproHD workflow to be very satisfactory. Of course your mileage may vary…
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You will most likely have problems with this workflow. Final Cut Pro 5 can capture in native HDV, or the Apple Intermediate Codec. Neither is compatible with Premiere Pro 1.5.
I honestly can’t think of any reasonable route that you could take to convert the material into something you could use in pPro. The most simple route would be to capture the HDV material on your PC.
Good Luck