[Keith Mcgregor]

Sorry, had to leave last night so FCP plays back full rate but Color is still not seeing it even when I set it the same as the card. Hmmmm…
thanks!
-Keith

Reality? What did you make it?

[Keith Mcgregor]

Yes, it plays at full frame rate. Thanks a mill!
-Keith

Reality? What did you make it?

[Keith Mcgregor]

Very weird. Thanks so much for your patience. I changed the playback settings in FCP to 1080psf 23.98 and the Kona to what you suggested. (Don’t understand their unique nomenclature when I haven’t heard of this before, anywhere, psf?.) Whatever the difference is I still don’t know. The control panel says it’s Primary (framebuffer) is 525i 29.97 and the downconvert is set to 525i 23.98. Weird, but now it plays back in FCP to the monitor at full frame rate, but Color still won’t recognize it when I choose either the same playback setting as FCP or any other for that matter. The real goal is for it to work in Color as our students need to know the importance of a color-grading monitor and to get used to using one, but finally it works in FCP. I told the student they need to have their footage at the same frame rate for editing and for color but to them stepping through compressor is too much work (pansies) and believe everything should work in the same sequence despite their codecs and frame rates. I am also going through the Color manual and it states it works with Kona cards but no more info than that. Is it true that the second monitor would be a problem with color?
I hope there aren’t some newer drivers for it as I have no control over that and our IT dept is slow as molasses. I still keep opening up the user manual hoping to find some hidden paragraph that states: “To use in Apple Color, apply these settings” or something similar, but nope.
Thanks a million! Keith

Reality? What did you make it?

[Keith Mcgregor]

Hmmm. Ours doesn’t look like that at all, the selections are on the upper left-handed side. But Yeah, I tried setting it for the 1080 but all I got in FCP was static. I made sure to set everything to the same setting but still just static. And absolutely nothing for Color, I have tried and tried. Plus it doesn’t have Secondary (downconvert) or Primary (native), just primary and secondary, no native. And there is nothing coming in as nothing is plugged into it. I can find nothing about setting it up through the user manual, it just doesn’t state anything on it.
Thanks for your prompt reply, that’s why I love the cow!

Reality? What did you make it?

[Keith Mcgregor]

I guess then what I mean to say is when I am importing from an archive and go through all
the clips and set ins and outs and then tell it to import all it doesn’t remember the
in and out points. What am I missing? Even the help just glosses over this part. I used to do it all the time with log and transfer and it remembered them.

Reality? What did you make it?

[Keith Mcgregor]

I used to have a dual-core power mac with 6 gig memory and I was editing HD all day with no problems. Of course when rendering, just as Dave says, it’s a ton more info than what you are used to. You should get a spankin’ new computer with 10 gigs ram, make it a quick cluster, and use compressor to render from reference files. (so you can do more than 1 at a time, and don’t export to compressor though as many have had problems) besides that there is not much to do to your current set-up. (BTW, how can the esata not work with your machine? It doesn’t come with any ports so then did you get a pci card and it still didn’t work?)
-Beef

Reality? What did you make it?

[Keith Mcgregor]

It’s just the old pixel aspect ratio doing it’s thing. It’ll be fine when authored or played by something that knows how to interpret pixel aspect ratios correctly.
-Beef

Reality? What did you make it?

[Keith Mcgregor]

Using the built-in scopes and the 3-way color corrector is quick and easy, and quite reliable from my tests.
-Beef

Reality? What did you make it?

[Keith Mcgregor]

It should actually be in /HD/Library/Application Support/Final Cut Pro System Support/Plugins. That’s where I have to manually drop 3rd party filters.
-K

Reality? What did you make it?

[Keith Mcgregor]

There is also a lot of fog in there, so when you shoot it use fog machines to produce the atmospheric effect. (unless you want to do it in a 3d program in post) and it even looks underexposed a bit with no detail in the blacks, and finally it looks like someone laid a 75% grey solid on top.
-K

Reality? What did you make it?