Marco Solorio
Forum Replies Created
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[David Battistella] “It is also a 4:4:4 codec when it is at 100% that is tprobably the biggeset thing you gain. “
It is PhotoJPEG that jumps to 4:4:4 in 100% quality mode, but MJPEG-A and MJPEG-B do not inhibit this feature.
[David Battistella] “I think it also carries an alpha channel.”
No alpha channel on MJPEG-A, MJPEG-B or Photo-JPEG. You’d get a bad matte since the color channels are compressed.
Marco Solorio | OneRiver Media
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One example is that MJPEG-A is a better codec than DV50; you can control the amount of compression there is with MJPEG-A while remaining in 4:2:2. This gives the user an incredible amount of possibilities when they want something better than DV50. I think this is a great move by AJA.
Marco Solorio | OneRiver Media
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[AJA Sales Department] “
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Wally’s completely right. You *cannot* do correct color timing with your PowerBook. I too use a Kona 2 in my main edit suite. Output goes to both a Sony PVM20L5/1 for accuracy and a Panny plasma display for, well, not accuracy. If you want serious color timing capabilities, then look into Silicon Color. We use their FinalTouch HD system which is by far the best color timing/grading tool you can use, save a da Vinci or Pogol system costing exponentially more.
Marco Solorio | OneRiver Media
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Sorry to hear the bad news, Chris. Just a recommend to those reading out there… I highly suggest Seagate Barracuda drives. A bit off topic but figured I’d throw out the info anyway.
Marco Solorio | OneRiver Media
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Wally hit it spot on. AJA is truly a fine company as I’ve been using their products for years now (I’ve owned everything except Cinewave, which includes multiple products from Aurora and BMD… and fine ones at that). In total, I think I’ve got about 6 uncompressed systems, but I lost count! The Kona 2 is in my main edit suite, which means it’s the heart of all my high-end video production needs. I cannot tell you how much I love this system, but as Wally mentioned, system setup has a lot to do with stability.
With a well maintained system, you’ll do yourself very well with a Kona setup and hold itself strong even in the tightest of deadlines.
Marco Solorio | OneRiver Media
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I agree with the others. You’re looking at the FCP forum that can answer all your questions (but use the search tool as it’s probably already been answered!). We can get as technical as you like. The only other FCP forum I enjoy interacting in is LAFCPUG. The others don’t compare!
Marco Solorio | OneRiver Media
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[leemce] “In preparations for buying and installing Final Cut Pro 5, I’ve just noticed that it requires an AGP Quartz Extreme graphics card. My Quicksilver Dual 800 G4 has an NVIDIA GeForce2 MX graphics card. Is this a for sure deal-killer? FCP won’t work in my machine?”
Quartz Extreme is a fancy word for OpenGL. Your card will be fine for FCP as FCP doesn’t rely on OpenGL performance like other core OpenGL apps do. But as the other poster mentioned, using a card like the 9800 will improve performance in Motion. Otherwise, it doesn’t currently make a hoot of difference for FCP, which is unfortunate. My gut tells me we may see something otherwise at NAB 2006. Well, at least I can only hope so.
Marco Solorio | OneRiver Media
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[Walter Biscardi] “This is definitely the best route to go. I did this when I upgraded from FCP 4.5 to 5.0 on both of my systems. I left my original System drive alone with OS 10.3.8 and FCP 4.5. Then I did a clean install of Tiger with FCP 5.0 on a 2nd internal drive.”
I did the same exact thing as well. This is truly the best method when upgrading to a new OS and keeping the old one for backup. And just a word of advice to those buying a drive to be used as their new system drive… get Seagate Barracuda drives. Don’t mess around and go “cheap” on the main drive that will ultimately hold the integrity of your system from pooping out when a client is sitting there next to you when your deadline looms at the end of the day.
Marco Solorio | OneRiver Media
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Hi Jack,
What broadcast monitor are you using? I’m using a PVM20L5/1. I too am outputting FinalTouch HD via the Kona2 but I don’t think we’ve experienced a mismatch in color symmetry. I’ll have to check when I get back to the facility this week.
When you say the color looks unsaturated in FinalTouch, are referring to the the color on your computer screen or the output from Final Touch to your broadcast monitor?
I don’t think I completely understand your workflow and the problem that arises from it.
Marco Solorio | OneRiver Media