[Drew Lahat]

Well I have a 1 second response delay, an extra 0.7 seconds to the video out, and the scopes at 4fps (no matter if it’s just one scope or all of them maximized).
This is with 1 layer, 1080/24p, and 1 primary node. 250MB/s RAID.

I know that the FX4800 isn’t the fastest CUDA GPU, but some how I feel that something’s way off.

I’d love to move to Resolve 9, just that it requires Lion and that means I’ll have to throw away my $30,000 SAN… ain’t happening just yet.

[Drew Lahat]

I’ve tested Scopebox for months, since NAB 2011 – experienced the same exact problem. Very low performance (~3fps), high lag, and instability, on G5 with Kona2 card. Practically the same experience with v2 and v3.

Divergent Media are aware of it but I’m not aware of any fixes. The last I’ve heard was that they were “tracking down performance issues with PPC… I’m working on a few optimizations and additional debug options so we can have users record additional info on their systems.”

Personally I gave up and moved on. Scopebox is still a great system, it just needs an Intel Mac. Get a mini… or just get a Blackmagic Ultrascope with a cheap PC.

[Drew Lahat]

Then why use a video I/O card in the first place?

That’s the $10,000 question….

[Drew Lahat]

Keep this bit of information in mind: the AJA drivers for CS6 will require OSX 10.7 Lion and won’t install on 10.6.x. Of course nothing is ever finite but I got this confirmed from AJA tech support yesterday. AJA drivers dropped 10.6.x support in version 10.0.1.

[Drew Lahat]

LOL, I experienced that before.

My question relates to Avid->AE so this isn’t the right place for it. I posted in the AE forum but got 0 replies over several days, hence my question if there’s a better place or a dedicated Duck forum somewhere.

[Drew Lahat]

There is a faster easier way: if you already have the clips synchronized in the timeline, link the right video to the right audio (Cmd+L), then just drag it to the browser. (You might have to unlink the original scratch audio first)
FCP will automatically created one merged clip in the browser.

[Drew Lahat]

Huh?
FCP is a software. Indeed, the software can’t do something without hardware. My iTunes never had audio support, you had to buy speakers or headphones.

And tape based output is in the software. As was said the RS422 control is built in, as well as the Edit to Tape menu option.

[Drew Lahat]

I have to concur about Gefen KVM extenders. I installed/supported them at at least 3 facilities, and have always had problems. Gefen support blames your wiring or interference in the cable’s path, and because of the intermittent nature of the problem, by the time the client is fed up and you’ve done all the testing you can it might be past the 30-day return/exchange window.

My recommendation, if possible, is to use fiber. I’ve used those for DVI extension only but they were much more reliable. Check out Gefen DVI-3500HD or ThinkLogical VelocityKVM-24. With those though it might be cheaper to get Avocent. Just make sure you’re getting a full-bandwidth KVM and not some compressed or IP-based solution. Avocent rules the enterprise server market, but as you know running an Avid or Da Vinci session requires instant GUI interaction at full quality. You don’t want it to feel like you remote’d in from home.

It should be appropriate to plug here my article from TFWM about signal extenders: https://www.tfwm.com/0810longdistance

p.s. I love Pac Rad, but I’ve been in lots of places in L.A. and can’t recall seeing any Intellix extenders. It’s really mostly Gefen, for better or worse.

[Drew Lahat]

[Shane Ross] “Might be the USB connection too? But that should be fast enough.”

Nope, I got the throughput results using the same cable & USB connection in the same session.

Anyone? Faulty logic board? I haven’t noticed other problems.

[Drew Lahat]

An important bit of information I omitted: most of the footage in the sequences isn’t 30i native at all. Almost half is 720p/60, and a third is telecined 24p.

I expect to end with a 60fps sequence where for starters, the sequence in & out points will correlate. An in point at 1:00:30:23 would become 1:00:30:46. Leave H:M:S alone, double the frames. Pretty simple.

The footage should also maintain its ins & outs and be interpolated the same way FCP would treat it if I manually edit a non-60 shot into a 60 sequence. Needless to say native 60p footage should fit in a 60p sequence.

I see what you’re saying about 30i looking like crap in 60p – haven’t had a chance to test it myself in depth yet, but given FCP’s poor track record in pulldown (the “2:2:2:4” pulldown), I can see it screwing it up. Ideally FCP would deinterlace on the fly or with a plugin (map every field to a frame – simple 2:2 pulldown), without requiring a deinterlacing software.

I’m aware that getting everything right will require much tweaking, I’m trying to avoid having to overcut everything from scratch.

P.S. As for FieldKit alternatives, Compressor and Episode Pro should also be able to add or remove interlacing properly. TMTS has a Smart Deinterlacer plug-in for FCP, and on the PC side, AviSynth has some very powerful features for fields handling and deinterlacing.