[Gary Morris mcbeath]

Walter,

I couldn’t agree more. When working in FCP, I actually have a piece of foamcore I have to place in front of my second monitor (where I keep the bins) to knock down the brightness so I can see the image properly on my grading monitor.

As an example of this done right, Apple’s Aperture photo editing program has an excellent “dark” user interface that allows me to grade the photos without the distraction of bright backgrounds.

Gary

[Gary Morris mcbeath]

Ya, I was kidding; I sort of knew you couldn’t comment, but I guess I’m so excited about this new release, I lost my common sense.

My original question was based on a previous upgrade in FCP, where I had to render the footage captured in the previous version to make it compatible. But that did work.

Thanks for all in input. Where would I be without the Cow and everything all of you do?

Also, it was nice meeting you Walter at NAB.

Gary
SaltAire Cinema Productions

[Gary Morris mcbeath]

Thanks Jeremy,

How about you beta testers out there? Can you comment on this?

Thanks,

Gary

[Gary Morris mcbeath]

Jeff,

I’m using 10.4.8, 7.1.3 and 5.1.4, no problems. HDV and DVCProHD projects, G-5 dual 2.u7, 4 gig ram. Like you, I’m waiting on 10.4.9 or any higher on QT.

Gary

[Gary Morris mcbeath]

Thanks guys,

Great ideas. I’ll research the slot configuration, because I’ve noticed my 8 drive raid is not running at the speed it should. And that’s without another FW card. Good info. I’ll get back with my results in a day or two.

Gary

[Gary Morris mcbeath]

Marco,

thanks,

Gary

[Gary Morris mcbeath]

Ah, a whole lot more great information. Thanks again to all.

My mixer is not the 442, but the smaller MixPre. Its meters, a group of 7 led’s, are peak only. The thresholds, however, can be set with a set of recessed pots on the left side, but the specs say the limit are from +6 to +18. I’ll experment with that.

Just some further info I’ve found relative to my camera. Its meters are somewhat crude visually (a small row of square dots on in the viewfinder that turn yellow), and setting the camera’s ref tone to -20db places a small indicater dot over that portion of the camera’s meter. (Doing that also lowers the recording level on the camera from the -12db setting; part of the reason for my confusing reference tone with recording level).

Then, when I send the mixer’s tone to it, I found the camera’s faders can be set anywhere from 3.5 to 7 (on a scale of 0 to 10) and still leave the camera meter at -20db indicated.

So I recorded a test with all the settings, captured into FCP, and found the camera fader reading that brought the level into FCP at -20db on the FCP meters. I don’t know if this is exactly -20db, but it is likely close, and at least now I have a good reference point for consistency from production through post. Peaks also fall in about the same spot in FCP as they did on the MixPre.

Again, my thanks to all of you, and especially to Ty for his great book.

Gary

[Gary Morris mcbeath]

OK, now I think I get it. The reference tone is just that, a reference tone, not necessarily where the 0 analog tone on the mixer will record; that is up to me to set, both in the camera and then in FCP.

My post is probably confusing, since I have been confused (most of my life actually!), and didn’t really know how to ask the question.

I appreciate the time you took to sort through it and provide me with an answer. Thank you.

Gary

[Gary Morris mcbeath]

Thanks David, I’ll give it a try.

Gary

[Gary Morris mcbeath]

I have a similar problem. I was able to get 5.1.1 OK, but then when I tried other Final Cut Studio updates, it said it appears I have downloaded it, but I hadn’t. No one seems to have an answer, including the VAR I bought my system from.

Maybe someone out there has an answer.

Gary