[Doug Beal]

We use both situations, a service, Captionlink who provide us with great service, and in house via CPC thank you Jason. It is a truly flexible workflow having both and being able to deliver to the platform doing the encode, Kona 3 or LHe, DS nitrous, DS Aja, Matrox MXO2 to tape, and spots for DG which are mostly handled in house due to timing/turnaround. last minute change and push out the door. keep the clients happy

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

I was totally surprised when it did. I was building it for a third party. Even though it worked I suggested that we go with ATI for FCP installs and only the 120’s if it’s dual boot Avid

I agree with the 2 x 24. I’m very used to it and like it a lot. The tendency toward 30″ is twofold in my specific application. one The DS machines and operators like the single 30 and share screen puts the two 24 in screens on one 24″ screen on the machine driving the screen being shared. these old eyes have a harder time with the resultant small type. with a single 30 the screen size is the same, you just have to remember what box your driving, yet another consideration.

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

If the dbeta is an edited piece the cadence will be random. It’s possible if the person cutting the piece did not use a monitor capable of displaying interfield motion that cuts were made on pulldown frames.
If it’s a straight xfer from film, do as Jeremy suggests and get the ale or flex files from the telecine session

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

The GT120 is dual display, however one port is mini display port and the other is DVI. The apple LED monitors are display port only and only recently have mini display port extension cables become available to get the distance required to be able to setup 2 monitors on one side of a tower.
I built a system prior to FCP7 launching with two GT120 and suspected color would not launch. However to my amazement it did. I would not recommend this kind of setup, you’re using up valuable slots in a macpro.
After experimenting here with share screen in leopard and KVM’s for multipurpose rooms I would tend to push for single 30″ monitors dual link DVI, using the quadro or ATI, as Arnie suggests

The share screen works pretty well. I can be digitizing on one system while cutting on another. combine this with shared storage and footage digitized is available immediately on the cutting station. pretty cool.
The KVM’s allow a room to be either DS or FCP so the 30 inch screen becomes even more desirable

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

depends on how far you want to go it alone.
monitoring,measurement, capture and disk arrays are required for high end situations as well as tape machines.
to put a complete system unless you have a fair amount of technical knowledge you would be better off consulting a Value added reseller.
That being said, there are many stages in the workflow where a relationship with a post house can be of great benefit. you can minimize your investment in hardware and maximize your creative flow. they might capture or prep offline for you, when your are done master and verify legal audio and video.
If you want to color correct monitoring (check out FSI) and something like a Kona3 are critical if 2K and down.Lhi if 1080 is as high as you want to go.

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

Start a new post
click the link “ADD A New Post”

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

perhaps it’s a reel number issue. if you gave each tiff a three digit reel number perhaps corresponding to their sequential order number things might work better. worth a try.
EDL’s are a legacy from linear editing, where if someone had a sequence of stills they would have been laid off to a GFX reel for the edit. single frame edits on tape machines are chancy and hard on the transport mechanism, hard disk recorders eased that problem at considerable expense, and very short capacity. thus GFX folk could record the single frame stuff to a hard disk recorder and the lay that 2 second to 60 second piece of to tape for a linear edit.
So EDL’s love reel numbers and timecode

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

Any thing we don’t do in house we send to Captionlink. great people great service. They might be able to help you. we have capture cards on macs and PC so they send us what we need based on the situation.
Seth is out of the office for a couple days this week but I’m sure he’d be able to advise you in some direction.
https://www.captionlink.com/

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

Mark
Just ’cause your tests have been proven to be correct, doesn’t mean you’re not crazy. It only means your tests are correct and have been proven.
My knowledge in this regard is based on the old “it takes one to know one” and this stuff is what has driven me crazy. as a side note, just because you’re paranoid doesn’t mean they’re not out to get you.

Best

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

If you are happy with your mix, you could export it from the timeline, duplicate your sequence, delete the audio tracks and bring back your exported mix. send that to soundtrack “multitrack” project and move the audio xx number of samples or milliseconds then export that, reimport
A lot of work for .4 frame or a field. Of course a separate edit to tape insert could be a lot depending on the TRT.
Have you looked at the delay down converting from the SR to dbeta?

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN