[Mark Arenz]

What about these new flat-tube monitors I’m seeing? Samsung & LG are starting to make tube TVs that are about 1/3 as deep as traditional tube monitors and theoretically they would handle SD material much better than plasma or LCD and true interlacing. Plus, they’re dirt cheap- $600 for a 30″

[Mark Arenz]

I’m working on a workflow for my company’s new tape-free production environment. I’m looking at a similar 4-drive enclosure from startech. They’re cheap enough that I can buy one for both edit suites and our animator and just hot-swap when we want to load footage.

For raw footage, the plan is to buy enough P2 cards to be able to bring them back to the office & offload them onto the current “camera original” SATA drive (swapping it out & popping it in the library once it reaches capacity).

Since p2 cards are expensive and transfer times might make using a p2store in the field impractical, I’m looking at a desktop PCMCIA/P2 reader for desktop Macs:

https://www.amtron.com/reader/p2card_reader.htm

Then again, if p2 cards ever got super-cheap this process would be sooo much simpler.

[Mark Arenz]

thanks. I missed that

[Mark Arenz]

I should clarify that although the plug-in is not available from the menus, I can still load v5 projects & copy/paste the text to access Title3d. Shows done in v4, however, will not load properly.

[Mark Arenz]

10 bit

I noticed that it seems more acute on certain photoshop files moving over backgrounds, and mostly with older projects. I have no idea if that has anything to do with it. In the past, I’d just flush the render files and fix this. I’m beginning to wonder if FCP 4.5 projects can only be rendered in “least/fastest” motion tab mode. I’ll try that in the morning.

[Mark Arenz]

I’m looking into a method for automating the process of archiving every P2 card onto DVD (as QT files, of course). For us that would be great, like random access tapes that cost a buck a pop.

[Mark Arenz]

We also used to archive to dBeta with our Jaleo system (kinda like an off-brand Flame) and I loved that system. In fact I built this insanely complex way of archiving that way w/ FCP without destroying the original timecode numbers but it was an enormous pain. With more and more of my content coming in as quicktime files, etc. that sort of thing won’t work, anyway.

I’ll keep archivng to DVD for now, I guess since it’s a system that works for me right now. It’s just that I’m throwing out huge AfterEffects renders since I don’t want to have to archive them, and that sucks.

[Mark Arenz]

Already did that. The sequence is set to full res/uncompressed 10 bit.

I did notice something interesting, though. If I did the same setup with another transition it rendered in fields no problem. I think it’s an issue with the transitions themselves. If you use the default cross-dissolve it will render in frames to save time. I’m fairly sure that’s why “fade in/out” dissolve exists- because it renders in fields. I now have a work-around but I’m still not sure why.

[Mark Arenz]

Thanks for the advice. I tried going out firewire and controlling via 9-pin and it only resulted in a half dozen restarts and a stream of profanity.

I managed to kick out those new shots in D1 via SDI. There’s a slight difference but since they’re cuts it can stay my secret.

[Mark Arenz]

Thanks. I’m checking the manuals, etc. for single frame editing tools, too. Pack left/right would be a big help right now.