[Gary Hazen]

https://www.euphonix.com/artist/solutions/finalcutpro.php

[Gary Hazen]

I used to have a Sony monitor similar to this model (can’t remember the model number). The inputs are analog composite. If you don’t have a I/O card on you computer you could always pass firewire through your camera to the the composite video out on the camera, you’ll need an RCA to BNC adapter and you should be good to go. If you don’t want your camera tied to your edit station full time you could purchase a converter. https://desktop.thomsongrassvalley.com/products/ADVC110/index.php
Or as buy an I/O card for your computer that supports composite out. That said, I wouldn’t spend any additional money trying to integrate old technology.

[Gary Hazen]

Have a look at TODAY’s site. Click on one of the videos on the page.

https://www.msnbc.msn.com/id/3032633/

They’ve created a skin that keeps the sponsor on screen throughout the video.

[Gary Hazen]

Immersive Media. Wow cool stuff Liz.

Know anybody at USC? They could point you in the right direction.

https://gl.ict.usc.edu/

good luck

[Gary Hazen]

Have you seen Trapcodes Horizon plug-in?

https://www.redgiantsoftware.com/products/categories/motion-graphics/trapcode-horizon/

[Gary Hazen]

To reiterate David’s point and to avoid future problems with other clients you need to clearly communicate with them. This doesn’t mean waiting until the job is finished. I try to talk to the client about throughout the project to give him an update on the time spent on the project up to that point. It can be as simple as saying, “I wanted to let you know that I’ve spent about 20 hours on this project so far – are we still on track with the project budget?”. This way if the project is exceeding the budget it can be addressed early on rather than waiting for the final invoice. Also it establishes a team based relationship were both parties are concerned with the bottom line. Finally it serves as a reference point should the client question the final invoice. If he asks ” Did this project really take you 40 hours?” you can say, “Yes, remember when I told you we were already at 20 hours last week”. The point of all this is to avoid the surprise factor when he’s reviewing the final invoice. If he’s well informed throughout the entire process there’s no good reason for him to question the invoice.

All that said, some clients are “Grinders” as Ron would say. They will squeeze the last ounce of work out of you and pay you as little as possible. If this is the case it’s time to find another client.

[Gary Hazen]

“Can a MacPro internal RAID take these levels of datastream. I want the system to have a large redundancy even if we were using the system for all of its functions simultaneously (ie accepting streams form Studio 1 and 2, ingesting digibeta and mastering into MPEG2). ” – Kyle B.

Nope.

Multiple streams of playout/record is routine business for a typical broadcast operation. However it’s not something that’s done on a MacPro. It requires some heavy duty hardware – an Omneon Mediagrid will handle your needs with plenty of room for growth.

https://www.omneon.com/mediagrid/index.html

There are other broadcast servers on the market such as Thomson Grass Valley’s K2 and Avid’s Air Speed. But the industry leader in this arena is Omneon.

There’s also a Mac based file server from Bug TV:

https://www.bug.tv/CLASS-R.html

Not in the same class as the heavy weights, but worth a look – affordable.

I’m of course speaking to the larger picture of broadcast operations as opposed to a small scale post production environment.

[Gary Hazen]

That scene doesn’t look lit. It looks like they faked the shadows by using additional layers for the shadow elements. Have you tried faking your shadows rather than casting them?

[Gary Hazen]

Here’s the clip.

https://www.youtube.com/watch?v=yO-scvDEIsE

I guess you’re talking about the open at :50. It looks like video layers arranged in 3D space with an animated camera.

[Gary Hazen]

Deck control over firewire is oftentimes unreliable. This isn’t specifically an Avid issue, I’ve worked with the HVR-M25 on FCP systems and had issues as well – the problem is the firewire protocol. From the posts above the 2 problems you seem to have are no RS-422 machine control and lack of an HD-SDI output from the deck. IMO, it would be worth renting a HVR-1500, which has RS-422 and HD-SDI out. Do a test to see if it resolves the problems. From there your client can determine if it’s feasible to rent a deck to handle ingest or if purchasing is worth another look. It sounds like you’re between a rock and a hard place with your client.

I haven’t had much time to sit down and really beat up the Nitris DX, but the time I have spent on the system I must say it is very fast. I’d say the response time is as fast or faster that the Meridien – which were very solid systems. Regarding stability, I don’t know yet. I need to sit down and push it hard for a few days to see if it hacks up a lung. We’ll see. Overall I think MC using Nitris DX is an outstanding editor. Miles ahead of the Adrenaline.

What’s driving the decision to edit uncompressed HD? I think Avid’s new hardware is optimized for DNxHD. Which is fine with me because it looks great and takes up the same amount of drive space as uncompressed SD.