Mark Raudonis
3
COW Coins
Forum Replies Created
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We connect via firewire, no AJA cards or ext box. Off-line RT for off-line work. We’re using the new IMX native codec for on-line resolution.
Mark
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Rich,
Your requirements are definitely different than mine, but I can certainly speak to the issues involved with switching form an all Avid shop to an all FCP x-SAN set up.
Here’s a link to apple’s website for our story: https://www.apple.com/finalcutstudio/finalcutpro/customerstory.html
feel free to contact me off-list if you’d like
Mark
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Wayne,
You’ve got something else causing this. We’ve got dozens of editors all cutting IMX footage for both off-line and and line. We are using the IMX codec and do not see the SBBD like you’re describing.
Mark
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Do you want to be ready for the future or are you just bargain shopping for the best deal today? How you answer these questions will greatly affect what kind of monitor you want to buy. For example, Sony has stopped making their standard NTSC tube monitor in favor of a new LCD panel. Purists on either side of the fence argue which is better. If you want a deal, buy one of the last of the tubes. If you want to be ready for the future, buy their flat panel. Just google “Sony professional monitors” and you’ll find tons of places. You need to focus your requirements before anyone here can recommend something.
Mark
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Why not do one of each? You’ve got the decks and the tape is less than $20 bucks! From a quality standpoint, it’s a tough choice. DV is digital, so you won’t experience any conversion loss. But… those little tapes… kinda fragile for a master. I’ve seen too many of the DV tapes get mangled. A beta master will sustain alot more wear and tear before it craps out. But, that Beta is analogue and we’re now living in a digital world. That’s why I’m suggesting one of each. You’ll get proven archival stability (beta) and digital compatability moving forward (DV). And… your client will love you for “covering all bases” for them.
Mark
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We’ve been running 45 terrabytes of X-Raid storage using X-SAN for the past year and a half. So far, only one drive failure during that time. Because we were using Raid 50, we simply popped out the bad drive and popped in a new one. No loss of data. No downtime. Not the cheapest solution, but in my opinion, the best.
mark
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[Tom Wolsky] “I’ve never tested it as I’ve never had access to that type of material, “
Our experience is that the successive clips generated by the discontinous code do NOT all show up automatically as angle #1. Rather, they populate the multiclip grid sequentially (angle 1, angle 2, angle 3). In other words, you’d expect all the clips from a tape labeled “Camera one” to stay in the “camera One” box of the grid. Currently, Multicam is not doing that. Each successive clip takes on the next angle. Hopefully this will be addressed in a future release.
mark
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Brian,
I’m assuming you’re looking for a Avid POV and that you have the FCP side covered. However, I represent an interesting POV since we used to be an all AVID shop until a year ago and then switched to all FCP X-SAN. We now have close to one hundred FCP systems all connected via X-SAN sharing projects and media. You can see our story on the apple website: https://www.apple.com/finalcutstudio/finalcutpro/customerstory.html
If you’re interested in my POV, contact me off-list.
Mark
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This article is very misleading. While Mr. Holsinger makes an effort to present a balanced comparison, I came away feeling that he is “Avid Biased”. His reference to “downconverting” is only for projects that have mixed formats (DV, IMX, Analogue, etc.). Well, duh! If you don’t need to “mix formats”, then you don’t need to downconvert. At that point, it’s a level playing field. No NLE is everything to everybody. If you tweak your workflow to favor the capabilities of a particular system, then you’re playing to it’s strengths and sidestepping it’s weaknesses. It’s called a “workaround” and we all use them.
He’s also comparing FCP’s multicam which is ver 1.0 to Avid’s which has been out for years. Give Apple a chance to respond to the feedback it’s been getting from users.
mark
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Yes, you’re screwed. However, if you look at your new media managed clip, open up the motion tab, you’ll often find something interesting. MM tends to add an extra keyframe. This keyframe is often at the bottom of the graph and obviously incorrect. Deleting this keyframe will often take you back to the original intended effect. This doesn’t always work, but when it does, it sure saves you time.
Good luck.
Mark