[Joseph Owens]

[Joshua Helling] “This is part of the reason we can do it on Mac because there is almost no hardware variation. But you start throwing different power supplies, memory and cases with different thermal dynamics and the situation gets more…..complex.”

No disagreement here, but a couple of things:
a.) This forum has been full of speculation about workarounds and third-party peripherals for months.
b.) This has been the bulk of the furball with Apple COLOR for years.

“No hardware variation” was the line of reasoning that Silicon Color took with Final Touch, and if you played by the rules, it all worked as well as could be expected given Apple insularity with FCP integration. But then it became an *APPLE* product and its consumers expected it to run on anything with one-button ease. Apple flung it out with the FCS2 suite with no real guidelines. The result: chaos. Why doesn’t it work with this? Why doesn’t it work with that? Why do I have to do it this way? Why doesn’t it work? Mostly because the Rube Goldberg systems continue to be so far under-spec that most of us are surprised that COLOR boots at all, but the expectation remains for full-real-time everything, no waiting, specialized hardware or skills necessary.

I really do hope that this will not be the DaVinci experience, and customers appreciate that this is not an Apple product and all that that infers.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

[Doug Beal] “perhaps you could create the required colors in photoshop”

No. Never do this. For interformat conversion reasons this is completely unacceptable.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

How and why would Dual-Link (HD-SDI Kona) be involved in this process? Betacam especially?

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

I started getting this kind of behaviour last October when I committed the serious error of upgrading to Snow Leopard.

For me the situation stabilized a bit with the Non-Desktop Driver (NDD) version of the latest Kona3 software. Now I get occasional panics with FCP errors using the Kona plugin which results in a system crash. Most annoyingly, the Edit to Tape module is just insane with frequent hangups on the 9-pin RS422 control, which nothing but a full system shutdown and restore will fix.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

[Vladimir Kucherov] “it just interfaces via USB3.”

So which Blackmagic/Resolve-qualified Mac computer has USB3?

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

No, its pretty obvious that the NAB versions were breadboard based on the “old” system.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

You know, “they” say so, (eventually) but when I framed the observation that “people don’t know what to do”, I got the response: “waddya mean?! the system specifications have been known for months!”

And its Blackmagic. Only. There have been some other mutterings that aren’t hopeful.
Final Touch was a little bit the same. You can only go by what is published; speculating and hoping are pointless.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

To be a “real” colorist I think daVinci should go back to the old monochrome text-only Renaissance classic display. The one that didn’t display anything but the list.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

[Illya Laney] “Because that’s a workaround. “

Like “baking” an entire timeline, re-cutting it, rendering it twice and re-applying all the effects?

Sounds like a terrific way to efficiently eliminate needless profitability in a workflow. ?

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

[Illya Laney] “The pro plasmas don’t have 3D color management though”

Why not do this with the Decklink?

jPo

You mean “Old Ben”? Ben Kenobi?