[Dit Ben]

well, thats just exactly what I was fearing: not much gain, but clearly more risks. David, can you tell me if you have personally compared final cut with RAID-0 and Non-Raid-0 drives, and if the difference is really as huge as you say it is?

[Dit Ben]

Thanks for your answer… But what would the Kona do that the Intensity doesnt? I have a 4:3 monitor, whats wrong with that? If After Effects can output a preview that is perfect, why cant Final Cut?

Also, as I was asking, is there a way to change all the clips in the browser and set them to anamorphic at once, so you dont have to check one clip at a time?

[Dit Ben]

By the way, I also checked with the AJA data rate calculator, and, indeed, my files are about twice the size they should be. None of them worked with the frame rate converter

[Dit Ben]

Doesnt seem to work for me: it tells me “the selected media file (clip0100.mov) cannot be processed by this tool – only dvcprohd 720P 59.94 and 50fps media files are supported).”

Its as if fcp6 thought that the file is 25P (and thats what it tells me indeed), whereas fcp 5.1 would see that the exact same file is 50P.

[Dit Ben]

Hello,
first off, Im glad to see that even though I bought BM’s cheapest card, Im still considered as a customer worthy to spend time on. Thank you for that.

OK, now.

1. I mentionned that I bought the Citidisk (after reading horrible stuff about it on hvxuser, I went to my favorite video pro store in Paris, tested it, and found it to work perfectly). It doesnt not capture mxf, but quicktime mov – be it DV, DV50, or DVCProHD.
So I dont use P2, and, to answer your question, I dont need Media Express – for the time being, that is. But good thing to know that there is this software (even though I dont see why I would need it).

2. The citidisk, however, doesnt shoot progressive native. Which is a HUGE problem, not only because the hard drive’s capacity is more or less halved ( ie I could shoot twice the amount of footage if it could do progressive native), but mainly because once its in FCP, I HAVE TO RENDER the quicktime thats 720P50 into FCP’s 720P25, or I have to export it and reimport it as 720P25. I have an upcoming shoot with not a lot of editing time, and Id rather spend it editing that exporting and importing… And, yes, I do understand its not a bad thing to force me to do that, since by exporting and reimporting, Im keeping the exact same video file, but Im getting rid of the second progressive frame, and therefore dividing the size of the whole thing by 2.
BUT. I’d rather be able to do that whenever I want, after editing for a few hours, instead of being forced to do that immediately.

Now, quoting you:”Final Cut Pro 5 & 6.0 do not support 720p50. The Intensity drivers and Media Express application do support 720p50″.
Im not sure I understand. Does it mean that if I had another application that could edit natively 720P50, I could use the Intensity?
In any case, why is there no Intensity Easy Preset AT ALL for european framerates (I said Pal in my first post, but of course, in HD, there is no PAL)? I have the latest 1.4 that I downloaded off your website.

3. Why dont FCP 5 and 6 support 720P50?? Great that *you* do. At least you seem to understand theres more to the world than just NTSC-framerates countries 🙂 / and not, Im not going to bash the US, Im french and I love the US. But come on…

4. What do you mean by “Displays dont support 720P25”? I’m in the process of buying a CRT HDTV, and I always thought that 720P meant 720P25, and not 720P25 over 50?

Thanks.

[Dit Ben]

Hmmm. Given the answers, would you be willing to sell your Intensity card? 🙂

[Dit Ben]

You can convert to quicktime using ffmpeg (https://homepage.mac.com/major4/)

[Dit Ben]

Oh wow, the god of the Cow is speaking. The Cow cult grants me this opportunity to thank you for the Cow (long live the cow!)
I do also have a question concerning your podcasts: is there a place where you describe said settings you use to compress the video podcasts?
Youre saying you use a combination: do you mean you compress in sorenson squeeze and then again in h.264? If so, why not just sorenson or h.264?
Thanks a lot

[Dit Ben]

Thanks,
I tried that, but Im also trying to get the kind of muffled sound you hear through airport loudspeakers or a plane’s PA system. I tried with an eq that enhances low frequencies. Makes it better, but not quite there. Any other ideas?

[Dit Ben]

Thanks for your answer. I’m actually in the PAL world. Do you know if the same applies, or is progressive really progressive?