[Joseph Owens]

Either an external ammeter or perhaps there is an internal power-draw window in the MacPro diagnostics.

Its the same as loading up an “octopus” multi-plug wall outlet. Eventually you overdraw the breaker box and your house burns down.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

as far as power supply goes, I have seen some instals that “split” the motherboard feeds. Whether this stresses the on-board resource, I have no idea. This is a strategy emplyed by gamers, usually, so they can run multiple screens for wrap-around simulators.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

Hmmm… well, I inserted a Sonnet Tempo SATA E2P in slot 4 of the Cubix and the system utterly fails to see it. It was previously in Slot 4 of the MacPro.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

[Paul Nordin] “ATTO H680 in my Cubix”

It doesn’t throttle down the GPU performance?

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

Actually, I’d be eager to hear opinions on dropping my ATTO optical 4-lane FC-44ES into one of the Cubix slots (where it would be co-habiting with a couple of GTX GPUs), as I’d really love to be able to configure the MacPro to be able to use both my optical RAID and have access to external drives via eSATA/PCIe.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

Why is 25 fps part of this process?

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

[Carl Ryan Stemple] “There’s a very subtle…fluidity to the grain in chemically processed celluloid that seems to flow naturally with the motions on screen”

its a result of crystal clouding, which makes it difficult to exactly simulate in electronic plugins. Each emulsion has its own signature, which is further modified by where it lies on the sensinometric curve and whether the processing lab was on the numbers… temperature, fps, turbulation, chemical solutions mixed properly… only a couple of hundred variables. Plus the enhanced temporal resolution of a slightly jittering image formation target.

You don’t know what you’ve got til its gone. Thanks Joni.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

[Richard Herd] “The problem Mr. Owens might have is getting a range of his footage out of X. “

To clarify, my part of the project is color grade. The X-generated XML imported very nicely into Resolve, layers unpacked where they should be, transitions did their thing (lots of dissolves), and although I did need to extract the alpha channels from the source footage to make the sync’d travelling mattes plus link them by hand, the whole thing functioned as advertised, and even the top layer exhibited the FCP-X mapped transparency. 30-sec spot, 1.5 hours, playing back something like 6 streams of 23.98p1080 ProRes4444, composited over top of each other, with Noise Reduction. The NR did kind of kick the stuffing out of my frame rate, but the end result was pretty silky looking. Automobile interior, night, collision with coffee cups flying. Should look pretty convincing on the big screen.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

[Mike Most] “There are network shows that shall remain nameless that are posting, coloring, and delivering using “

H264.

And what do you think a PVR is doing to it?

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

[Steve Connor] “why are you still spending your valuable time here and what are you getting from it?”

A question my spouse asks me every time I open the Forum. Because the X-bomb is the Edsel, the new Coke, the DVORAK keyboard, Esperanto and the Titanic all rolled up into one neat, well, messy, gory, package. Its whale guts on the beach. Not the cocktail-on-the-beach at all.

I am a colorist by perceived categorization, and like another poster, I’m mostly interested in what fresh hell (thank you, Dorothy) is going to walk in the door next. On balance, I hear things from editors like, “It made me want to gouge out my own eyes and never edit again”, but OTOH, frankly, I pretty much only use NLEs for online and mastering, and would probably have never gotten involved with Final Cut if it had not been the entree for Silicon Color’s *Final Touch*, and we all know where that has ended. And thank heavens Resolve is more ecumenical. I have an FCPX-based gig arriving one hour and twenty-seven minutes from now. We’ll see how that goes. Its a composite green-screen, so wish me luck.

I am on record from April of last year as thinking that X has some good technical underpinnings, and certainly I can see where its organizational architecture suits it for unscripted, improvisational productions. Final Cut 7, is, at least in my opinion a disaster as far as fundamental video engineering is concerned. It makes me think that Apple doesn’t know what video is, and their OS, with respect to display technology, seems to support that notion.

I spent most of yesterday at a memorial service for the sudden and unexpected departure of a treasured colleague, a truly golden-eyed cinematographer. More than anything, my point in mentioning it is the sense of community that permeated the gathering — some of us competitors, some staunch allies — but all professionals, and passionate in pursuit of doing something meaningful. Especially in the presence of an immutable truth about the transience of life.

jPo

You mean “Old Ben”? Ben Kenobi?