[Dan Riley]

For a few bucks more, the Dell UltraSharp 2007WFP 20.1-inch Widescreen Flat Panel LCD
is priced at $367 with free shipping right now. I picked up one a month
ago and couldn’t be happier. It would be great for your browser and
effect bins monitor.

Dan

[Dan Riley]

Wayne,

I agree with you, this camera has a lot going for it.
I’m looking at all the good and bad I can find out about it.
This is my evaluation period before I jump in a do a shoot with one.
This is a big Panny town and I happen to like Ikegami and Sony,
so I’m on a island by myself a lot when it comes to cameras.

The slo mo footage I saw looked very good. Like I said, if someone
had not pointed out the loss of vertical resolution I would not have
noticed it. If, or I should say when Sony gets the software to allow
ingest of 35 Mp/s files and Apple gets FCP to allow ingest of the
proxy files to edit with, then I’ll be really singing the praises.

Dan

[Dan Riley]

Yes, the background file transfers is cool. The Apple guy did a demo of that yesterday.
It’s something that could be useful however, in my workflow, I need to have
all the cameras from all the takes in the system so I can make multiclips.
Then when everything is in, we start cutting. With some shows we do, yes,
it would be useful to capture in the background.

The slo-mo footage I saw that was shot 60 fps looked nice but now that you
mention it, it wasn’t as crisp as the 24p footage. There are always gotchas 🙂

Dan

[Dan Riley]

Blue,
My interest in file transfer isn’t because it’s a geeky new way,
it’s because I do many 4 camera multicam simultaneous timecode shoots
over two days and end up with 5 or 6 reels each, that’s 24 hours of
material to capture. I’m looking for better ways to get editing sooner.
The faster than realtime ingest is a big deal in this situation, if it works.

The place where they did the seminar (Key Code Media) had a $25K
Sony CRT monitor to look at the footage in addition to the big screen,
so I got to get up close and really see what it looked like and play with
the deck and camera.

Dan

[Dan Riley]

Thanks.

Dan

[Dan Riley]

Figured it out. I put the fly-in clip on V2, the matte on V3. dropped the
extract filter on both and adjusted from there. Looks fine.
Is this they way you all do it?

Dan

[Dan Riley]

It mentions it supports timecode in the SDI video stream.
I’m wondering, what camera or deck outputs this info?

So, this card will do for a laptop, what an AJA PCI card does for a Mac Pro for instance,
at least from the standpoint of getting SDI video, audio, control and timecode
in and out of the laptop?

Dan

[Dan Riley]

Bob,

Your #2 and #3 are great ideas/tricks which I will most certainly try.
I don’t do many nested sequence stuff anyway, but the still frame thing
is killing me in uprez.

As for just editing in the original resolution, I’d love to, and I do that
when it’s a small project with only a few hours of footage.
However most shows I do have 40 hours of raw material. If I put that in at 10 bit
uncompressed, that would be 4000 gigs. I have a nice SATA RAID
but it’s only 2000 gigs. Even if I did double the storage, I still would
only be able to have one project on the drives at a time if I loaded it
all in at high res. And now with the camera I really want to start using,
the XDCAM HD which automatically makes low res files for offline,
I really want to use those files, so FCP’s MM is still an issue.

But your solutions above are great ideas and I will
definitely see what happens in about three weeks when I uprez
my current show.

Thanks,
Dan

[Dan Riley]

As someone mentioned above, if you aren’t doing the offline/online thing,
then yes, FCP is a breeze. If I’m only producing a 2min spot
loading in a couple of reels at 10 bit and finishing that way, it’s so nice.
But since most of what we do is half hours, it’s not that simple.

As for the new Intel box, I’m just a little disappointed it wasn’t as
kick ass as the Macbook Pro was. That was quite a bit of speed up there.
I figured the Intel Mac Pro would be so fast, it would allow FCP to move into
more realtime and more timeline flexibility. Perhaps as someone said,
when OS 10.5 is released and we have 64 bit processing all the way through,
then maybe FCP see nice speed gains.

Dan

[Dan Riley]

I love it too Tom. I can cut faster on FCP than I ever did on AVID.
And I LOVE the camaraderie of FCP users like this one.
These very good things about FCP and the Mac in general. I just wish
I could have my cake and eat it too, so to speak.
And AVID really doesn’t won’t your business. That’s the way that act anyway.

Dan