[Jay Wolf]

Thanks, Shane. Let us know when you complete your testing of the MXO!

best regards,

Wolf

[Jay Wolf]

Just out of curiosity- in what respect do you find the Kona better?

I believe the Kona LH is $1600, which makes it somewhat more competitive, but, as you said, I’d also need a different monitor for it won’t hook up to my Dell 2407. That pretty much locks the door for me…

Wolf

[Jay Wolf]

What about getting the Kona LH? That should take a load off the processor when editing HDV, right? But how much faster is that?

At any rate the Kona can do everything that the MXO does, plus the in-options- is this correct?

[Jay Wolf]

So you’re testing the little box, Shane. Can you give us a preliminary report? How long have you had it/used it much? Noticeable flaws? (aside from the aforementioned) I read something about annoying screens refreshing when you switch programs? Anything else?

Buying advice? (I know it’s a little much too ask, but hey…)

Thanks,

Wolf

[Jay Wolf]

I’m currently working on an item with 3-layered animation ‘bumpers’, combined with filters. (3.5 gigs memory in my system. As I understand, FCP can’t address more than 2 or 2.5 gigs anyway…)It just takes too long to render every time you move a keyframe- and I’ve moved a lot of keyframes. It’s not that it doesn’t work- it’s just not workable.
I’ve seen a demo from Rick Young from MacVideo that cuts these times down anywhere from 20 to 65% using the DVCPro HD codec.(That is, after you upconvert your HDV material, whilst sleeping preferably…)

Wolf

[Jay Wolf]

Am I right to assume that these Dell presets will be available as part of an upcoming firmware upgrade? Or would I miss the boat if I buy a current model?

thanks for the reponse,

Wolf

[Jay Wolf]

Matte, thanks for the suggestions but quitting FCP and restarting (in Safe Mode) I do as part of trashing prefs and repairing permissions.

Steven, 20 seconds for a shot shouldn’t be any problem in HDV. I hope… I use a Sony Z1, by the way. I’ve captured like this many times before.
I’ve retried several times- starting to capture in the shot before or in the shot itself, but no go. When I Capture Now on the shot before, it will capture that fine but when it plays the Dreaded Shot… no clip. Very odd. Things is, its my last shot where people say goodbye. I NEED that shot.

While we’re at it- am I the only one who gets the error-message when hitting the ESC-key when aborting HDV capture now? I’ve never been bothered by it because it captured fine but I always wondered why it labels this action as erroneous.

Just tried capturing the last part by loggin it first and this is what happens- the in point won’t stay put, it automatically changes to the same timecode as the outpoint. Happened with two different in points…?? So something is screwed up with the timecode. How to solve this, other that try to copy the tape to another one and replace it with new timecode?

Okay, succes at last. I changed the offline media start point in the browser and presto! (still curious to know why this happens but at last I can now use that shot!)

Thanks for your help,

Wolf

PS If someone can answer the question regarding the error-message when using the ESC-key to stop capturing HDV, I’d be much obliged!

[Jay Wolf]

Thanks again, Jerry.

Wolf

[Jay Wolf]

You’re GOLD, Jerry. And I must be an idiot… that must be the only option I didn’t use… But why doesn’t Compressor adapt the aspect ratio settings from the FCP sequence? It is not very user-friendly, is it?

Thanks (also to Kelmedia for pitching in- ‘there are more roads that lead to Rome’ is a Dutch saying, I’ll give yours a shot as well)

Wolf

[Jay Wolf]

Thanks, Jerry, I’ll try it and see what it looks like. I just used it ‘as is’ in the anamorphic sequence and it’s actually not that bad because the 4×3 cam was used for the establishing shot. The centre of the stage is well lit and off to the sides its much darker any way, so the ‘missing picture’ is not so noticeable.

Wolf