[Marco Solorio]

This is the exact method I do as well with equal results. Just a quick Command-Tab to Finder between apps really seems to bode well with the system. If I had to quit one app to work in the other, I’d be screwed!

Marco Solorio  |  OneRiver Media

[Marco Solorio]

Interesting that the two would be different. Very good to know. Thanks for the info.

Anywone know about the Westinghouse? Bart?

Marco Solorio  |  OneRiver Media

[Marco Solorio]

[Bob Zelin] “The world is changing (and there is some guy out there saying “I’m still gonna buy that $35,000 Sony BVM HD CRT monitor”). “

I’m still gonna buy that $35,000 BVM HD CRT monitor
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.
.
.
.
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After I bank my first $100 Million! :-p

Hey are you guys getting any delay values with either the 50″ Panny or Westinghouse? On my 42″ client-side Panny, I get a small delay (I think something like 30 milliseconds or something if I remember) which I can dial out by the use of a digital delay setup. Without it, it feels about a frame off sync. Curious if these newer display models have eliminated this or not.

Thanks,

Marco Solorio  |  OneRiver Media

[Marco Solorio]

The *only* thing I don’t like about the camera however is that it’s natively interlaced. If Canon had made it natively progressive, I think it would have really taken a larger chunk of the market. Who knows, maybe we’ll see something at NAB from Canon. It took *years* for Sony to finally come up with the V1U, maybe Canon will follow in their tracks, even if they’re the last to do so.

Marco Solorio  |  OneRiver Media

[Marco Solorio]

Yes, exactly. To reinstate it in simple terms…

LIVE SDI Output: Uncompressed 4:2:2
TAPE SDI Output: Uncompressed but with the encoding artifacts of compressed MPEG-2 HDV

To clarify, the live output to the SDI port is post-imager and pre-HDV encoding. Of course, when you play the tape back, the SDI port will then output the effects of the compressed HDV tape format even though it’s in an uncompressed “shell” of sorts.

This camera makes for a nice studio camera for chromakey use if you can capture the live SDI feed directly to an uncompressed NLE system. You then will have uncomrpessed 4:2:2 media to key from, rather than highly compressed HDV media.

Marco Solorio  |  OneRiver Media

[Marco Solorio]

[danrnw] “It looks, I think, even better than the Ulitmatte.”

I wouldn’t discredit Ultimatte too quickly. I’ve used many keyers and Ultimatte has always been at the top of my list. There have been shots I’ve keyed with Ultimatte that shouldn’t have been keyable in the first place. Keep in mind that you can get very, very deep into the Ultimatte settings. It’s so much more than simply eye-dropping a keyable chroma area and fiddling with a couple of settings. I’m not saying other keyers are bad. In fact some are very, very good. But IMO, Ultimatte has always been on a higher level than the rest.

If you go a step further and shoot for Ultimatte, your keyes will be drop dead real.

And please don’t get me wrong. It sounds like you’re in a time-crunch and you needed a keyer to work on an Intell Mac *now*. If it were me, I’d either do the same thing or install Ultimatte on a PowerPC Mac if the key was that important. But for me, LOL, it always is! 😉

Marco Solorio  |  OneRiver Media

[Marco Solorio]

I couldn’t agree more with Wally on this. If you find a good deal on an L5 with little hours… GRAB IT! The L5’s are quickly becoming the rare jewel in professional edit suites. There’s no way I’d part with mine. If my building catches on fire, I’m grabbing a 20L5 and running. Screw the hard drives!

And yes, in reference to the other posts, the L5 will *definitely* auto-switch between different SD and HD resolutions on the analog YUV connectors. Besides all the common 1080 formats, it’ll even support 720p60 at full frame-rate. Try it out… shoot or conform a 720 clip to 60p and watch it play at 60 FPS. Ohhhh ahhhhh.

The L5 is truly one of the rare, “best-you-can-get-if-you-can-get-it” editing tools.

Damn you, Sony.

Marco Solorio  |  OneRiver Media

[Marco Solorio]

[Shane Ross] “Yes, all rendering in FCP is done 8-bit. Which is one of the reasons that many people color correct and render in After Effects, because it can render 10-bit…and because it has a better render engine than FCP.”

Not completely true. Yes, AE does have a better rendering engine… in *RGB*. FCP does have an upperhand with video as it does work in native Y’CrCb. No matter how high the precision in RGB, Y’CrCb values can get cut in the transfer.

There’s always been rumors of the High Precision YUV rendering option still being 8-bit at the core no matter which setting you have, but I’ve never actually tested this to varify it. However, from other reliable information I received through the years (even in FCP 4) the 3-way CC is supposed to work in true 10-bit in real-time on cards that are 10-bit native themselves like AJA and DeckLink. It’s when you actually have FCP render it is where the rumors still exist. One of these days I swear I’ll break down and test it with all the “free time” I have. :-/

Marco Solorio  |  OneRiver Media

[Marco Solorio]

A little OT, but I have to say that sometimes I prefer to watch the Panny plasma and sometimes I prefer to watch the Sony 20L5 CRT. I have to say though, when it comes to making a color decision, I still refer to the Sony. In any case, it’s nice to have both mirrored right there in front of us. The clients especially like it too. It’s also nice to have a native 16×9 reference and a native 4×3 reference even though both can switch to the other.

Marco Solorio  |  OneRiver Media

[Marco Solorio]

Cool, thanks guys. Yeah, if I get the notion that these functions can be done in Apple Script, then we’ll definitely be using Google as our tech guide, LOL.

So one last question… It appears Apple Script can record functions that you do on the computer. If so, can you take that recorded data (from Apple Script) and break it apart and alter it? IOW, does it save it as actual script that you can edit after you record it?

Thanks again guys!

Marco Solorio  |  OneRiver Media