Keith Koby
Forum Replies Created
-
Thanks!
Keith Koby
Sr. Director Post-Production Engineering
iNDEMAND -
Thanks John. Nice app that guy has made. Do you have one person use x-wiper and clean up after all the editors, or do you make everyone clean up after themselves?
Keith Koby
Sr. Director Post-Production Engineering
iNDEMAND -
HD production gear was not in front of HD distribution? I would think the cart before the horse would be the opposite: Making the distribution system before the production systems.
-
So you are saying that the article on apple’s website was inaccurate? It just said, if i recall correctly, that radical felt confident enough with the fcpx to edit a big important commercial with it. I don’t see how that’s a big lie… I didn’t take the time to go back and read that article again though.
I have no idea what they actually are doing now. I could ask Evan. I can tell you that a few blocks down the street we have a significant user base on fcpx, but up until a month ago, more than half of our users were still on 7. We’ll probably still have people on 7 well into next year and maybe longer.
Sorry Bob. I enjoy reading the tone of what I interpret as your salty integrator “crankiness”. And I appreciate the time you’ve taken over the years to build such a great knowledge base of solutions here. I’m just not sure what you’re upset about here.
-
The company I work for built an early HD network called INHD. Then INHD2… Then both got rolled into a network called MOJO. The story about lack of content on HDNet sounds familiar because we were fighting for the scraps of available HD content with them.
A couple years later, everyone else was HD or nearly, so the novelty wore off – and so did Mojo. It was fun working on HD when it first “came out”. (Although if you speak with folks like David Niles, he’ll tell you it was invented (by him?) in the 70s. (We love david by the way.)) But for sure it was difficult to acquire HD content (affordably or at all) at the beginning of that “experiment”. Within the first 2 years it just became difficult to acquire acceptable HD content affordably.
It was also difficult to produce quality HD at an affordable cost back then. I think the challenges to produce 4k at an affordable cost today are significantly less daunting than HD back then or 3D 4 years ago. Consider BMD cameras and these monitors… This 4k hurdle doesn’t feel so high.
And Marcus is correct in asserting that VOD distribution means will be attainable.
-
[Shane Ross] “Precisely! Even when it was between Avid and FCP Legacy, larger production companies choose one or the other, rarely both. The only places I’ve seen both in play were post houses that served a variety of clients, who used one or the other. But companies that have tons of editors and shows that need to get to air…they were either FCP or Avid.”
Well, not exactly… One of our friends that posts here has posted about using Avid for one particular type of job and fcp legacy for others. And he has spoken about the hardships encountered along the way to keep either platform going. Also, I know first hand from my engineering friends at one of the large 3 letter premium networks that they had for years maintained fcp legacy for producers and avid for their editors.
To me both are clear illustrations of large organizations doing serious edit work using multiple platforms. Some work collaborative even. The difference being that their is a clear dividing point on who uses which platform.
We still support FCP7 for some workflows and X for others. At this point we are also considering Adobes for another isolated workflow with it’s own set of editors. Projects aren’t necessarily shared, but materials are and pieces are certainly fed from one area into another.
Keith Koby
Sr. Director Post-Production Engineering
iNDEMAND
Howard TV!/Movies On Demand/iNDEMAND Pay-Per-View/iNDEMAND 3D -
No Rick I don’t think he got details like that. The panel is 1920×1080 raster, so you’re right that they downsample the 2k to HD. But that is where the panel’s 12 bit processing would be helpful.
It would be great to see that pricing on the 171 stay there instead of going back to regular. At that pricing the panasonic 17s look like a bad joke.
Keith Koby
Sr. Director Post-Production Engineering
iNDEMAND
Howard TV!/Movies On Demand/iNDEMAND Pay-Per-View/iNDEMAND 3D -
I did not but a guy who works for me saw it over at CCW and gave it the thumbs up.
-
[Jeremy Garchow] “Also, the increased capability of what you can do with one single Thunderbolt2 cable is very nice.”
Yeah that’s what I’m intrigued with. If you didn’t need switched video, you just run one thunderbolt cable from the machine room to the thunderbolt monitor in edit. From there you can t-tap out to your video monitor and de-embed audio to a mixer, you can plug in firewire, or thunderbolt or usb drives (i think it’s usb 2 now) right in to your computer at t-bolt speeds. Your t-bolt monitor becomes a monitor/tbolt breakout connector. And it’s all over 1 cable.
All of your actual video io, networking and machine control can stay nice and tidy right in the machine room. It doesn’t give you a kvm switchable infrastructure, but it is certainly tidier and nicely functional. Probably increases machine room runs to restart computers though…
-
I got some us info, but I’m not sure if it is public yet or not. Not nearly as bad as we thought compared to euro pricing, but still a little pricey. I think you could use a similar formula to what I put earlier in the thread to figure it out. think 75 or so per transceiver (so x2) and then add a respectable price per meter of cable. The figures I saw were fairly consistent to that formula. Obviously you can use the known 10 m pricing as a starting point.