Dino
Forum Replies Created
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Firewire 400 is slower than a direct attached drive (SATA or PATA). Firewire 800 is faster than a single drive so is a good fit for RAIDs taking advantage of at least two drives.
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Isn’t the KT series a 1/3″ lens? The EX3 has a 1/2″ chip. The F330 also has a 1/2″ chip. You should see if the same lens works on both cameras.
If it’s a lens issue, having the same on both cameras should go a long way towards addressing that.
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Rob, if you’re asking an actual question or expect some assistance you’re going to have to supply more information. It’s starting to look more like your presenting a riddle than requesting that others give you free help and advise.
I’ve had DVCProHD media from P2 cards work in Media Composer 2.6. There are absolutely tools and processes in 3.X that are not available in 2.8 but the Avid MXF media, once tucked into the proper media folder structure, should be valid.
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Vignette!
In the darkest scene faces still need light on them. Also, you can’t have shadows without light.
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[Scott Davis] “Not accurate.”
I wouldn’t go so far as to say that I’m not accurate. Perhaps that I’m not providing the whole picture? I confess that I was not aware of the possibilities available through XML. My experiences with it in the past (far in the past) were less than satisfactory. There however stands definite limits to what is possible in regards to how far back you can go. FCP 6 introduced XML v.4. FCP 5 covered XML v. 2 and 3. Depending how far back you want to go will require giving up more and more functionality, compatibility, and stability.
My personal reference standard for version inter compatibility and project information exchange is Avid media Composer and Symphony. I believe that what is possible with these product families is far superior to what is possible in Final Cut.
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Your media conversion process is fine.
How are you monitoring? What monitor are you using? how is it connected? What hardware do you have? What playback quality is set in the timeline?
Media Composer projects are not resolution bound. A project can be both 1080 and 486 by simply switching in the format tab. All resolutions can reside in the same timeline. That said, Avid makes no claim of master quality downconverting. Official policy is to transcode the media to an SD resolution if the destination is SD.
Further. I would pay close attention to the detail settings in the camera. 0 isn’t necessarily a true zero point. I have seen claims that -40 is 0. Excessive processed crispiness in HD could easily lead to aliasing artifacts in SD.
Finally, it may be time to consider two upgrades. First, an Intel based Mac Pro. Unfortunately I don’t know about compatibility with the just released (last week) Mac Pros. The gains in processing power and access to newer software is tremendous. The latest version of MC (3.5) , I think a $300 upgrade. Lots of new features and tools for dealing with the various file based formats.
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Older projects always opens in newer versions of the software. Occasionally a bug will cause problems. They are usually patched quickly. Newer projects never open in older versions of the software. This includes minor updates (.X revs) and patches (and .X.X revs).
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I have often experienced this as well for quite some time. Luckily the footage always seems to work properly in Final Cut and After Effects. I’ve had limited exposure to Color so haven’t noticed this as a problem there. The QuickTime issue continues as unresolved. QuickTime is a mess.
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The ideal would be a Digibeta (or DVCPro50) master of each show with the proper audio configuration. If DVCPro25 is what you have that can serve as a source for the conversion. Probably the best way to get the rest of the audio on is an edit to the PAL master.
This is getting complicated and I don’t want to steer you wrong with the limited amount of detail we can accurately exchange in an online forum. It is probably best that you start looking for a facility to work with. Considering the scope of work this could easily run to 8 or 10 full days. A good facility will work with you to determine the best route based on your exact needs and budgetary limitations. At this scale, it might even be in your interest to rent a suite and serve as your own operator. I had previously mentioned Devlin Video in NYC, there are probably others closer to you.
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Software Update doesn’t see the Final Cut downloads as valid if you don’t have the proper version of the OS and QuickTime. I Imagine that if you update to at least 10.5.5 and QT 7.5.5 FCS updates will be come available.
Consensus is generally that it is better to download the combo updates than let software update handle it.
https://support.apple.com/downloads/#macosx105