Lance Bachelder
Forum Replies Created
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I have 4 of the Sonnett’s with “approved” WD drives. Not a fan of the box at all.
The eSATA cables they give you are total garbage and ALL had to be replaced. If you power them down they rarely come back up without some replugging, new ports etc. Mac or XP, they are very finicky and I don’t recommend them. They also have a “ramp up” before they reach speed.
They are good for local raids that don’t get turned off or moved – EVER – and may be a solution for ProRES projects.
If I have to buy them pre-built, I’ll go with someone like CalDigit next time.
Lance Bachelder
Southern California -
I looked at everything for our studio ( 4 PC/Mac bays) using FCP and Vegas. I chose MetaLan because it is file based and totally upgradable – Lan version for ethernet, fiber where you need the speed. Biggest issue is your storage – pick a very fast enterprise class fiber array. I went with Sonnett eSATA and it sucks. Hoping to move to 4GB fiber soon.
MetaLan/San is very easy to set up and they have great support. PC’s and Mac’s simply see the raid as a local drive. You can also run your Avid’s and Pro Tool rigs off MetaSan for add’l storage.
Lance Bachelder
Southern California -
This could also have to do with how your scratch disks are set up – make sure your Waveform Cache, previews, renders, captures etc. are going to a dedicated drive and not your system drive.
Lance Bachelder
Southern California -
Not my quote – Earl Nightingale many decades ago in The Strangest Secret – he also mentioned it may not pertain to teenage boys – who would of course become teenage girls. Though not sure it ever wears off… even in my 40’s.
Lance Bachelder
Southern California -
We are doing a high profile animated series and being able to name tracks and reorder them would be HUGE! Nearly every other NLE and sound app allows at least track naming… c’mon Apple.
Lance Bachelder
Southern California -
After seeing the ProRes codec on several systems including big screen projection and the new Sony high-end pro monitors I think everyone is gonna like ProRes a lot and start using it right away. I saw no reason to ever use uncompressed HD again for normal production work – fx and green screen stuff may still use uncompressed but we won’t know until it is run through it’s paces in a pro workflow.
Lance Bachelder
Southern California -
I’d go 30 or nothing. It’s increased my productinity dramatically. After using the Apple 30 in my home edit bay, I bought the Dell 30’s for all my editors and mixer for our new TV series. Everyone loves working with them. THe Apple 30 has just been reduced another $200 and is awesome. The Dell is still the better bargain – can’t go wrong with either of them.
We use the 2nd DVI port on our machines to kick picture out to HD LCD’s and a 50″ plasma in our mixing room. Simple DVI to HDMI cable – cheap, fast and looks awesome.
Lance Bachelder
Southern California -
For selective color fx try playing with the Secondary Color tool – lots of control over specific color ranges.
Lance Bachelder
Southern California -
Hah! Tell our digital supervisor that! Maya only allows .avi’s or frames – we are in layout phase so these shots are being cut into our animatics before going out to the animation studio. The studio will be giving us back targa frames in the final pass.
I discovered it’s just the way FCP sees the .avi’s – it can only see them as 23.98 and lops off a frame. Although I can’t use Cinema Tools, fortunately Compressor reads the .avi’s and I can batch convert them to 24 fps .mov’s and then FCP sees them fine including the lost frame – and it doesn’t matter if the seq is 23.98 or 24 – FCP sees the .mov’s correctly.
Thanks for all the suggestions everyone! Love The Cow!
Lance Bachelder
Southern California -
These are .avi’s output from Maya to the Cinepak codec and Cinema Tools won’t open them.
Lance Bachelder
Southern California