Kevin Wild
Forum Replies Created
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Personally, I would also rather have color correction built in, since we use it every single project.
Yes, over the years Media Management would be the #1 complaint for most everyone that does broadcast and corporate work. Someone else can chime in with the one they’ve heard the most, but I would say this is by far the thing that AVID still kills FCP on.
That and the capture tool…again, it’s been over 10 years with AVID that you could start logging your clip as it’s being captured. Also, it would be nice to see levels as capture takes place.
Next a sequence, go change it and come back into your sequence. Nothing changed. D’oh. You have to unrender it and rerender it for the nested revision to take place.
Again, I’m loving some of the NEW features they’re incorporating and the under-the-hood stuff they seem to be doing, but some of these things I mentioned need to be fixed. Especially for those of us that work on both AVID and FCP, it’s painful to try and move media and/or capture and such…
KW
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Have you had a need for it before? It’s horrible. Try telling it to delete all unused media except for what you have in a sequence. I cannot believe they didn’t change this…it’s the #1 complaint for the past 5 years.
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I agree 100%. I welcome the new stuff, but gads they need to fix the media manager and capture tool. UGH!
Lots of other little bugs (nesting, scopes, etc.) that need to be worked out, too. I hope they are.
Come on, Apple!
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I should’ve said “when video whites were illegal” the picture jumped around. If I put a broadcast safe on it, it was fine.
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We had a similar problem with video jumping around only when rendered. If I made the clip unrendered and played it, it was fine.
Very strange stuff. I’ll work around it since a new version is on it’s way hopefully in a few weeks.
KW
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“Finalcut does not fully support multible codecs in the same timeline”
This month. 🙂
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Thanks, guys. We got it working though the I/O channels 7&8 went to 5&6 and vice versa. Very strange…must be an internal bug because we were using all SDI…no settings to change. I did have all channels in FCP routed correctly…it would show 5-6 to 5-6 on FCP’s scopes and on our external scope it would show 7-8 and vice versa.
Got it working with the Kona3 perfectly, though, so we’re good to go.
Thanks!
Kevin
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Sorry to disappear, guys. The first problem I had was the vertical banding on the left and right of the screen. Basically, I noticed that the blanking was a pretty large area. I had an engineer look at it today and while it’s close to illegal, I think it will work. I put a tape up on their scopes and have determined that the issue was probably the switcher and how it was recorded to tape during the live show. SO…no problems with that anymore.
However, I am still wondering what you guys do to compensate for the difference between DV based 720×480 footage and SD based 720×486 footage. I’m mixing it pretty regularly between beta stuff and DV. Do you size up a couple percent so you don’t have the 6 lines of black at the top?
Thanks for your help!
Kevin
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It does not have HDMI. Please visit Canon’s website.
The G1 has the pack of outputs that includes HDSDI and timecode. Yes, the quality is EXACTLY the same if taken out of firewire. Get the A1 unless you absolutely need the HD SDI or timecode ports.
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I’m with Walter on this. I have both the 50″ and just received the 42″ last week due to a smaller room and a killer deal on them at B&H right now. ($1050?) Anyways, both are great, great monitors for HD, but both are seriously bad for SD. I’ve found that to be the case with most HDTV’s, though, so it’s not a Panny thing. CRT’s are still around for something! People also forget that on progressive displays, they won’t be able to see field problems.
So, 42″ should do you fine if you’re working in HD.
Good luck!
KW