[Dan Daube]

If you are actually seeing breaks that’s not the stutter issue we’ve “heard” about that’s been related to cards; that would be something else indeed.

Did you do the sequence set-up by dragging one of those clips to create it? I’m not familiar with Matrox, but I’d check drivers and be sure that there isn’t a similar issue with set-up inside Premiere and in your overall settings.

Dan Daube
Director-Editorial Turner Studios Atlanta
Manager Multiple Systems-FCP 7.0.1 AJA Kona

[Dan Daube]

Are you using a Kona or BMD card?
Latest drivers might be an issue? Be sure for Kona anyways it’s 9.0.1
check this previous post too: https://bit.ly/oDsFrb

Dan Daube
Director-Editorial Turner Studios Atlanta
Manager Multiple Systems-FCP 7.0.1 AJA Kona

[Dan Daube]

Apologies I mis-spoke (mis-typed) meant the AMD change from NVidia, not Intel in the new iMacs.

I’m posing the question though that while Apple in the past has had a “proper” Pro workstation do we think that will continue?
They got rid of XServes recently and as far as being concerned about others’ software running on their hardware, Adobe Flash is still not on their iOS devices. I wonder if they feel that the power in this level of system is enough for us “pros”?

Dan Daube
Director-Editorial Turner Studios Atlanta
Manager Multiple Systems-FCP 7.0.1 AJA Kona

[Dan Daube]

Food to fuel the speculation:
Does anybody think that there may be no MacPro workstations in the future? We all as professionals look to our needs when we look at these buying choices. It begs the question; is Apple going to sell more iMacs and Laptops than Pro workstations? I’d say yes.
Rumor to the contrary here: https://www.macrumors.com/2011/04/21/apple-developing-narrower-rackmountable-mac-pro-prototypes/

The new iMacs look compelling: https://www.apple.com/imac/
What does everybody think about the switch to AMD from Intel??

“May you live in interesting times!”

Dan Daube
Director-Editorial Turner Studios Atlanta
Manager Multiple Systems-FCP 7.0.1 AJA Kona

[Dan Daube]

Broadcast networks require this as a standard. There aren’t any or very, very few who are set up to broadcast 23.98 media. We will take it but it will get converted prior to air. Consequently, any network broadcasting 1080i will expect an HDCam or HDCam SR as all the automation, servers etc. will clock to TC expressed as time of day. Simple explanation but that’s how your show starts on time and so on.
However, now many networks are also accepting file delivery and will do so more and more in the future. At this time expect that you’ll still need to deliver a 59.94 interlaced file and if not it will get converted for playout.

Dan Daube
Director-Editorial Turner Studios Atlanta
Manager Multiple Systems-FCP 7.0.1 AJA Kona

[Dan Daube]

First you have to do a clean install. Nobody wants to take the time but it’s the only way to rule out so many possible issues. Assuming maybe this project started in v6?

7.0.1 should fix-it’s in the release notes.

We saw this frequently in projects started in v6 and promoted. New projects in 7 seemed to be better unless there were specific circumstances…seem to recall freeze frames did something to cause.

May want to try creating a new project and moving your media etc. into the new project (in 7.0.1 of course).
I’d think about commiting the time for the clean install though. The time you’ll use will more than cover the time you may waste later.

Dan Daube
Director-Editorial Turner Studios Atlanta
Manager Multiple Systems-FCP 7.0.1 AJA Kona

[Dan Daube]

It looks like everybody has some great ideas for your side of the delivery.
Avid Newscutters likely are PC but really it may simply be the Avid import settings. You are sending Quicktime, but are you using the Avid QT codec? Free download, though hard to find on Avid’s site.
Last we saw it was here:
https://avid.custkb.com/avid/app/selfservice/search.jsp?DocId=263545
That might aid their import provided all your Compressor or transcoder settings are 4×3 centercut, broadcast color safe, 720×480 and so on as discussed.
Many NBC stations are actually DVCPro, but can’t think that really would make much difference though.

Funny what constitutes “broadcast” now especially for an “old” D2, Digibeta guy! 😉

Dan Daube
Director-Editorial Turner Studios Atlanta
Manager Multiple Systems-FCP 7.0.1 AJA Kona

[Dan Daube]

Harry,
Yes indeed this is a messy one. Rule of thumb perhaps as there’s no definitive rule: 1.8 is more aligned to working in print, 2.2 more suited for PC monitors and the video world.
The key takeaway that you read in those previous links is the need for an external monitor. You’ll want a trusted (calibrated) broadcast monitor to view and have confidence in your actual output. If that is not your workflow then you need to pick one gamma to work in and adjust everything to that spec. So it really depends on your work. In the meantime, be sure in your FCP User Prefs, on the Edit tab you select how you want imported graphics to be managed 1.8, 2.0 or 2.2
Also if you are viewing via QT and not a broadcast/external monitor, open QT and go to the Quicktime Player Preferences menu.
On the General section at the very bottom there’s an option that says “Enable Final Cut Studio color compatibility”. Check that box.

All of our monitors are calibrated to 2.2 gamma and D65 whitepoint. That’s a fairly standard recommendation and suited to broadcast video work in all its flavors.
Here’s a long history of why the settings are what they are: https://blogs.adobe.com/jnack/2009/09/why_your_web_content_will_look_darker.html

2.2 has become more prominent mostly from the broadcast world but even in design or print circles it’s become more the norm.
If you aren’t on Snow Leopard it may be less of an issue for now. As SL will work in 2.2 gamma changing from 1.8 That may start this whole thing up again as that becomes the default OS.

I believe we still see the issues periodically with the AJA cards so it’s not specific to the ATI cards though the variance may be more or less. Can’t judge that.
There’s a ton of info and opinion out there on this-get it all set to what works best in your workflow and stick with that.
Best of luck!

Dan Daube
Director-Editorial Turner Studios Atlanta
Manager Multiple Systems-FCP 7.0.1 AJA Kona

[Dan Daube]

April,
What type of file are you trying to use? The examples posted are jpegs which should be fine if that’s what went to FCP.
Definitely don’t want it to be a CMYK. Go into Photoshop and open your logo. Then go to Image, Mode and change to RGB and save.

Dan Daube
Director-Editorial Turner Studios Atlanta
Manager Multiple Systems-FCP 7.0.1 AJA Kona

[Dan Daube]

Here’s some info and really a history of how this all started especially relating to Snow Leopard:

https://blogs.adobe.com/jnack/2009/09/why_your_web_content_will_look_darker.html

Here’s what gamma is from Chris and Trish Meyers:
https://help.adobe.com/en_US/AfterEffects/9.0/WS44E9CED2-117D-4c19-879E-D553BB88B886a.html

Some more adjustment info from Apple:
https://support.apple.com/kb/HT2026

We’ve dealt with the issues for some time working with broadcast video which is basically working in the 2.2 gamma in most instances. So trying to get a true representation with monitors especially as we move more into the file-based world can be a little daunting-hope this helps!

Dan Daube
Director-Editorial Turner Studios Atlanta
Manager Multiple Systems-FCP 7.0.1 AJA Kona