Jennifer Isenhart
Forum Replies Created
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thanks!
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thanks for the info, Walter.
Do you know the model# of your Panny Pro Plasmas? We are looking at the Panasonic TH-42PH10UKA 42″. Is that, by chance, the same model you have? Are you happy with them?Jennifer Isenhart
Wide Eye Productions -
Hi there,
we’re getting ready to upgrade the client viewing monitors in our two HD edit suites. We’re interested in the Panasonic 42″ plasmas, but are looking for some advice.
We’re shooting all on VariCam, editing in FCP w/Kona LHe cards. We have the pro, Panasonic 17″ monitors connected via HDSDI for our editors, for up close work, color grading, etc.
For clients, we have 26″, older Toshiba 720 progressive HD monitors mounted to the wall and connected via component video cables directly out of our Kona LHe breakout box.
What model plasmas would you recommend, given that our HD footage is all 720p VariCam? Also, is it best to connect to those monitors via component HD out of our Kona breakout boxes? Or is there a better way to connect to reduce latency?Thanks for any advice you can give us.
Jennifer Isenhart
Wide Eye Productions -
Thanks, Shane.
That’s what we’re using… 1280 x 720 in Photoshop. But as soon as we drag the imported file into our 720p (23.98) DVCPro HD timeline, it gets “stretched” so that it appears much wider from side to side and shorter from top to bottom.
I’ve heard that Photoshop images can sometimes contain embedded information about their original pixel dimensions. So even though we are dragging the logo from its original file (a 720 x 486 file) into our 1280 x 720 file… the layer retains embedded information marking it as a 720 x 486 file. is this true?
It’s so frustrating, we’ve tried everything (including 960 x 720) and it always comes in looking stretched.
Could it be an issue with the version of Photoshop we are using… we’re on version 7. Do we need to upgrade to CS?
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Once again, it seems as though American companies foot the bill in the global marketplace. But I don’t want to get on a rant here, because I must say we are very pleased with our Panasonic video gear.
Thanks for the feedback. I guess I’ll be calling our Panasonic certified rep. about that AJ-HD1200A (P!)…
Jennifer
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You are all confirming our suspicions, thanks for responding. I must say it’s tempting to pay $16,500 vs. $24,500 for a HD1200A deck WITH an HD-SDI card installed, but I think we’d pay for it (and then some) in the long run.
I have to ask you though, Jeff– why is Panasonic Japan selling decks for a third less than Panasonic America? I can’t imagine that Japanese video producers would accept a product that’s sub-par (afterall, they’ve been producing in HD a lot longer than we have). What’s the big diff?
Jennifer
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If you’re using a Kona2 card for digitizing, it will see the flagged frames and automatically import 48fps footage into a FCP 24fps project as slow motion. That’s one of the awesome features of the Kona2 card. We produced a 14 minute political video with lots of slow motion shots by digitizing all our footage directly from our VariCam HD-SDI out into our edit system via the Kona 2 card. It worked great. But Sean is right about the timecode– you won’t get any. In Final Cut, every clip will begin at 0:00. So plan on working in online quality the entire time… there is no batch redigitizing capability with this setup.
Good Luck.
Jennifer Isenhart
Wide Eye Productions -
this is a difficult issue. If you can believe it, our HD edit station has been down since the end of (*&^%$#$!!!) September because that is when our dual 2.3 G5 (PCI-x) machine had its meltdown. I cannot believe how difficult Apple has been to deal with on this. If they had just handled the problem immediately (instead of forcing us to go through three long, drawn out on-site repairs– during which their Apple Certified tech managed to fry our first Kona 2 card while replacing the logic board), we wouldn’t be in this position.
They gave me NO indication that they were swapping me for a different machine. They said they would ship me the exact same configuration that I had. Well, I guess it’s back to another two weeks of wrangling with Apple. Problem is, we finally convinced our biggest client to go HD and now we have an upcoming edit in December. At this pace, I’m afraid we’re going to blow our first HD project with our best client.
THIS SUCKS!!!!
Sorry for the vent, but I am so fed up with Apple. I guess I’ll go back to my desk and call my favorite 800 # again and again and again…
Jennifer Isenhart
Wide Eye Productions -
Give the configuration of our system (see original post) and what we are using it for (editing and compositing HD footage), do you think we should spring for the 7800 card w/512 of video ram?
Jennifer Isenhart
Wide Eye Productions -
the machine that had the meltdown was a dual 2.3 G5 (not a dual core).
I already have FCP HD v.5, however, I am now worried about whether my Kona2 card will work in this new machine. I just got the dual core machine yesterday and have not tried the Kona2 card. Will it work with the PCI-e slots? What about the fiber channel connection to the XServe RAID? It’s supposed to be a PCI-x connection, is it not?
Jennifer Isenhart
Wide Eye Productions