[Joseph Owens]

I find if I’ve got 8-bit on the sequence timeline, and attempt to play out through the Kona card inadvertently set to 10-bit, the playback on my eCinema simply freezes. As soon as I hit stop, the image jumps to the frame I’ve stopped on, that sort of thing.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

No, this has more of the feel of a Snow Leopard problem, since that is when this all started really coming apart consistently.

Also, there is no SDI-in loop from the SR deck output, so the Kona isn’t seeing anything. Its running free/slaved to FCP/ETT/Control Panel. I do not use the internal Kona monitoring as it would essentially be a feed-back loop. I monitor everything externally through actual scopes and actual monitors. If any of the preview lockup stuff were true, the system restart would also fail, because nothing has been changed, connected, disconnected, re-routed or anything.

I am not a basement enthusiast, I’ve been delivering network tapes for nearly thirty years. The last five years have been almost pure and undiluted hell with this Apple garbage, and over the past six months has descended into being utterly unacceptable. Put “Fisher-Price” on the package, and I’d believe it.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

Usually the SRW5500 is my default machine and its left connected almost permanently. I try not to “hot” plug any control interfaces, and at first, I thought this was the issue. But not. Having the machine warm before starting FCP, coldstart, hot swap, restart FCP, makes no difference. It has to be a complete hardware shutdown and restart, and sometimes the machine will disappear after a successful mastering pass and the next tape in will require a shut down before I can address the VTR again, which means setting up every last detail all over again.

I still can’t believe that its the “Capture/Input” setting that determines the output of the Kona when you use Edit to Tape.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

Thanks for the insights. I’ve been away on remote for a few days.

Decks in the system: Sony: SRW5500, DVWA500, PVW2800, UVW1800 and DSR45.

They all exhibit the same behaviour. I am running FCP7.0.2. Kona control panel8.0 nondesktop version (FCP crashes almost incessantly with the desktop version), Kona3, firmware updated on a MacPro 3,1 2.8GHz Dual-Quad Xeon running Snow Leopard 10.6.4.

All direct RS-422 via a K3-breakout box (which AJA seems to have some serious build problems with)… I don’t have to jiggle any wires or re-seat any connectors. It is always a complete system shutdown that fixes the loss of communication. VTRXchange: same behaviour, but even if it worked, I require the Edit-to-Tape module (worst edit controller in the space-time continuum) for its Closed Caption insertion.

As I’m typing out all this stuff, I’m realizing what a ridiculous house of cards built on sand this really is.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

[Kevin Cannon] “And get 5 reels of sound, each with a 2-pop?”

A number of facilities also like a tail-pop in case there is a 23.98/24 speed issue to reconcile.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

[Sascha Haber] “Is the Ati card of any use ? Or should I buy a second gf120 for the UI ? Or might even a standard PC card work ?”

Apparently you haven’t been paying attention. Or reading Blackmagic’s published requirements.

No, the ATI card is useless to Blackmagic Resolve.
Many of the operating software functions are based on specific instructions found within the nVidia hierarchy.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

[Kali Bateman] “I’ve been looking at specs for so long over the past couple of weeks that I can’t see the forest for the trees “

Not surprised that there is very little comment on this thread.
You’ll find a terrifying amount of discussion of the topic with a simple search.
Beware that some manufacturers make better looking specs than monitors.

Sony doesn’t enjoy the stature in solid-state display that they once did in CRT.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

I dimly recall showing a quick “85” day balance on a daVinci about 14 years ago and the client exclaimed that it was “f****g magic!!!!”.

I’d see it as a problem, though, if all that a client was interested in was the software on offer.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

Eh?

Er… six-vector hue/sat secondary control was standard from the very first Renaissance. ????

So…. the more “sophisticated” the tool gets, the more simple, direct methods get dropped?
Am I missing something here? This sounds ridiculous.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

Maybe its the enthusiasm.

But it was an absolute pleasure to work on and I was able to stay in touch with my alma mater
Engineering College’s motto “Thorough“.

Now that its all together in one unit instead of looking at it one component at a time, Alexis has put together a very nice progression and builds its complexity outward around a very deep core understanding. For me personally, it came home again that one gains a deeper comprehension– plus there’s always something are out there to be discovered and/or re-modelled when working through or teaching a process like this. It was like colorist college or daVinci Academy again for a couple of months of intense review! Its the real thing. Actually I’m listening to Vince Gill and Gladys Knight from the “Rythm Country &Blues” album dueting that tune… Ain’t Nothing Like it.

Back to recreating the Ice Age — grading a documentary…

jPo

You mean “Old Ben”? Ben Kenobi?