Floh Peters
Forum Replies Created
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Hm, what OS version are you using? Could be that your OS is not qualified for Suite 1.1.1; maybe you can try the trial version of Suite 1.7 to see if this is an issue that has been fixed in the meantime.
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[Tahoe Todd] “Right…but since this program has already been finished, what other solution is there…change the project settings in M100 and re-render everything with ProRes?”
You can apply a colorcorrection filter in FCP, e.g. a Levels filter with the Input Black set to 16 and the Input White set to 235
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[Todd Simon] “Sooo, is there a “fix” for this?”
Probably the easiest fix is to work in e.g. ProRes in Media 100.
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[Todd Simon] “Here’s another situation…I’ve since moved into Final Cut Pro v6 and exported a Media100-suite timeline via XML for the first time. It came over to FCP fine, but the scenes seem to have gone through a severe color shift…everything is somewhat “washed-out” looking as compared to the way it looked in M100. I’m using a high-end HD monitor which is setup correctly. Any experience with this?
“Are you using a Media 100 codec (Media 100 HD or Media 100 i)? This would explain it, since FCP handles these codecs incorrectly. FCP treats them as being full range 0-255, while they are StudioRange (16-235)
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The later versions of Media 100 i were protected by encryption codes that are tied to the Vincent/P6000 board serials. So you need a code that matches your PCI board serial to license e.g. Media 100 i V8.2.3a, which is the latest version for your hardware. You only can get the code from Media 100.
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Do you work on an interlaced or progressive timeline? How do you monitor your results?
In Boris, you could check the Project Settings to make sure that “better Quality Field Rendering” is turned on. -
This should work in a G4 and in a G3. It is not tested in a G5+chassis configuration, so you are probably out of luck on a G5.
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[Bernard Mann] “Can u answer a question for me on Media100? I have a media100 suite deal pci card with breakout box from 1998 and dongles. Will that work in Mac pro g5 tower? If not, what about a G4 tower? Or is it just for a 9500 like I had it in before the 9500 died? Thanks guys! B.”
The main question is what kind of card this is. There was the original “Vincent” card, the Vincent 601 and then the P6000, which was introduced to support digital inputs. As far as I know the P6000 was the only one that was officially approved for all except the last G5 systems via an expansion chassis. The slots in the G5 itself don´t provide the required power for the P6000 card, so it only can be used via an expansion chassis. In case you have a G5 and a board, we still have some old chassis somewhere, so maybe we can make a deal there.
You should be able to place the board in any G4 you find, but of course you need to make sure to have the right Media 100 software version and encryption code for the OS version you are running. -
If you place the Graphics in a Bin, they will work fine in a timeline. If you then need to apply effects to them, you can do that easily from within the timeline. Place the Graphic on the timeline and access Red from within the Graphic. Or do you need several graphics at the same time? You could do that by stacking them on V tracks at the right timecode, and then accessing Red from the topmost graphic. You will have the layers below it available in Red via the V2…V6 tracks.
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[Robert L. Kopf] “I realize that there are many reasons why all the other codecs exist. But being completely self-contained and not for hire, I’m not going to have to think about being compatible with various other standards. The only desire that I have along these lines is that I choose a codec (or two or whatever) that will best suit my own internal needs here. “
Unless you are expected to deliver something else, I personally would think that ProRes 422, and ProRes 4444 or Animation codec for clips with Alpha Channel should be more or less all you need. As I said, we do 99% of our work in one of the ProRes family codecs.
[Robert L. Kopf] “If the only drawback to using any “better” codecs is a trade off for disk space for instance, I’d choose the better codec, since the cost of disk space is negligible. Of course I realize that in such cases there may likely also be an increase in render time, etc. I understand that the best plan is to try various things, to see how they work for me. And I intend to do that. But opinions that help point me in the right direction are appreciated. There are just too many choices out there for me to try out empirically. What way might you recommend for me to acquaint myself with such things as which resolution standards are compatible with these codecs?”
Harddrive space and I/O throughput are 2 of the aspects that can make a difference. Plus, initially there were some issues with the ProRes HQ variant that did not exist in the “normal” flavor. But I think for SD material coming from Component sources you won´t see a difference between 422 and HQ.
[Robert L. Kopf] “If people are generally satisfied with the 4-core performance, I can no doubt live with it for a year.”
We bought one of the current 4 core MacPros for one of our edit suites, and we do quite a lot of AE work. Of course the 6 core systems are faster, but for us it was not worth the extra money. But of course the decision is up to you, and it depends on how long you think you are using this system.
[Robert L. Kopf] “Have you ever done that? I wonder how fast that drive needs to be, and whether or not it would be possible to share a couple of drives there, to capture from two cameras simultaneously that way.”
I have done that in a controlled environment. With ProRes422 in SD you should be good to capture at least 2 streams onto a “small” Raid system attached to your edit system, and still be able to continue editing on the same machine. ProRes SD data rates are pretty low for the current Mac systems. Now if you are talking HD, this changes dramatically.