[Daniel Frome]

[Noam Amit] “The picture didn’t look good”
Any professional video I/O device is going to output the same picture. That part is set in stone. Looking terrible would be the fault of your monitor, not the I/O device.

MXO2 mini runs terrible on Avid 6.5. They’ve been trying to fix the drivers for several years with little luck. AJA T-Tap is apparently the best of the bunch right now (bias alert, I also own one).

[Noam Amit] “Can MC 6.5 use these outputs and enable me to work with two screen for project windows and a third one for full screen playback?”
If the videocard can output 3 displays, then sure that could be done. My retina macbook pro can run 3 external displays and I have successfully done so in the identical manner that you’re talking about.

[Daniel Frome]

1080p = 1920×1080
2K = 2048×1152
4K = 4096×2160

Hopefully now you see why they don’t scale as you might think.

[Daniel Frome]

I wish I could find the official Adobe post… but I think there is some kind of issue with Premiere Pro on mac … it cannot do 10bit. Obivously someone needs to clarify/correct me… I thought this only applied to display devices, not video I/O… maybe I was wrong.

[Daniel Frome]

Here’s so I did several times on a past job:

My work machine was a windows machine, so I formatted my portable drive to NTFS, which allowed the Windows machine to consolidate media to that drive.

I then purchased a copy of Tuxera, which will allow your mac to read/write to that NTFS formatted portable drive.

The only catch was that my Avid project/bins had to exist on a mac formatted drive. So, I simply copied the project/bins to my mac desktop, while leaving all the Avid MediaFiles on the NTFS drive. Worked very well.

[Daniel Frome]

Nah, no scriptsync, although I’d love to try that. I’ve just not come across the right project for it.

The script is merely to help me see which shots cover which part of the story.

[Daniel Frome]

https://i.imgur.com/wRmGL.gif

[Daniel Frome]

AMA link all your footage.

Place all your shots in chronological order on a timeline.

Then place all your audio on the same timeline in chronological order.

Export an AAF of the sequence. Load it into Pluraleyes.

A few minutes later it spits out a new AAF (timeline) with all your stuff synced.

Import the AAF, relink to your DnxHD media and start cutting.

[Daniel Frome]

It can be used in the same fashion as a displayport/dvi/etc out to a monitor. You should be able to tell Premiere to display a fullscreen image on it.

The difference with using an AJA/BM/etc card is that, when used with a calibrated rec.709 monitor, you get color accuracy. In the scenario you are describing you would not be seeing TV accurate colors. Although, from what I’ve heard, Premiere’s YUV-to-RGB conversion is very good… so it would be a decent ballpark.

[Daniel Frome]

[Neil Patience] “I know that all DNxHD encoding and decoding in Symphony Nitris is 10 bit. I have a copy of Avid’s “Supported Formats” document which does not offer anything more than 10 bit on any format so my guess is that 10bit is the max, however that document is only up to and including V5.5
A quick look at Avid’s site does not mention 12 bit as far as I can see.”

Some interesting “initial” findings: Fast-importing ProRes4444 (12-bit) seems to result in proper 12-bit color correction.

I tested this by creating a 12-bit, 10-bit, and 8-bit version of a single shot – a shot which was grossly underexposed. I then pasted the same color correction filter on every version of the shot and compared. The results are visually obvious that the 12-bit file holds up the best.

[Daniel Frome]

In your case I would prefer the 2.5ghz 6 core CPU.