Eric Grush
Forum Replies Created
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Yes, there are still some of us out here doing HD work on older machines and we love plug-ins. Especially cool ones.
Thanks,
Eric Grush
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Just to throw another voice into the mix. I was searching for a low cost 4:2:2 uncompressed set-up and looked at Dulce and G-Speed and CalDigit. I ended up with 7Tb of rack-mounted Maxx-Digital SATA RAID (using a CAl-Digit card) on my old G5 for less than any other brand. Oh, and it’s not RAID 5 or RAID 3, just a straight clone on two RAIDs. I get over 400 mbps on each setup and even one fails I can just copy the missing info over. So far I have run 3 features through them without error. They even came in and set the whole thing up.
I thought that have a RAID 5 solution would be the best thing for me, but this seems to have been my best option.
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Thanks for the tips. Will be discussing this info with the producers and the camera people.
Thanks again,
Eric Grush
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Sounds good. I am using an older Powerbook, but can get my hands on a newer one if needed. What other inputs have you used? We are coming from an HD 4:2:2 source, but are hoping to be able to send a low res feed to the laptop to preview our composites while shooting. Any experience with this sort of thing?
Thanks,
Eric Grush
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That looks great. I think that’s what I need. I’ll just have check what outputs I can get from the camera. Thanks a lot.
Eric Grush
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Does anyone have an opinion on upgrading video cards on an older PCI-X G5? Are the render times much better than with my Radeon 9650?
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Yes…I got a Panasonic 42″ 9UK from the same series for under $1000 and use it for client viewing and paired with a Sony CRT for color correction. The image is extremely clean and matches the CRT very well. It also runs component from my KONA 3 at a wide range of sizes and frame rates.
Best of luck.
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Gamma levels do more than just set the look of a shot. Using a good CRT is essential, but the scopes can give you specific information that (in my experience) becomes critical when trying to match shots within a scene. The gamma levels not only define a tonal range, but they serve what I would say correlates to negative density in photography. When one matches two shots by eye on a CRT, the monitor often masks variations in density and saturation that may show up when projected, viewed on a plasma or exported to tape or especially encoded to DVD (as the subtle differences get amplified when a software based encoder deals with the different levels). Am I making any sense? The best results come from both judging by eye to find whe look you want, and using the scopes to ensure a consistent value set from shot to shot.
Eric Grush
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Thanks for that tip. It’s nice to have fellow editors share a technique. Great trick. Thanks again.
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Not wanting to sound foolish, but what brand of DVDs are you using? I have sufferred through numerous encoding variations and export options to find that I was using crap DVDs. Some of the nicer white label DVDs used for labeling aren’t worth a damn. Too often I tried to save a buck on cheap DVD stock and the quality really sufferred. It was a DP friend who pointed out the problem in the stock. Most editors don’t think about stock, but DPs do and he was right. I spent the extra money for high quality discs and it helped with the pixelation issue.
Eric GRush
Hal Arts Media Entertainment