[Matt Campbell]

Yeah, wishing I had a Kona card now, but opt’d to save $ on a BMD card and spring for the FSI & KRK’s.

BTW, thanks to your blogs for help guiding me there. This. FSI. Is. AWESOME!

OSX 10.7.5 with a 3.39 Ghz Intel Core i7 on a built up Hackintosh
16 GB of RAM with OSX on SSD, (2) internal HDDs RAID’d 1 for project files and External RAID 5 for all project assets (media, GFX, stills, etc.)

[Matt Campbell]

Thanks Angelo. I’ve just tested this too and it appears to be ok. Next I’ll test it on my FSI monitor, as soon as its gets here.

OSX 10.7.5 with a 3.39 Ghz Intel Core i7 on a built up Hackintosh
16 GB of RAM with OSX on SSD, (2) internal HDDs RAID’d 1 for project files and External RAID 5 for all project assets (media, GFX, stills, etc.)

[Matt Campbell]

Thats it, thx Jeff. It looks like it is just a display thing. I knew the pulldown was there just couldn’t see it. Displaying first field shows the 4:2 or 4 frames and 1 dup. And checking show both fields, shows the 3:2 pulldown nasties. Just wanted to make sure it wasn’t pullin’ a FCP trick on me.

matt

OSX 10.7.5 with a 3.39 Ghz Intel Core i7 on a built up Hackintosh
16 GB of RAM with OSX on SSD, (2) internal HDDs RAID’d 1 for project files and External RAID 5 for all project assets (media, GFX, stills, etc.)

[Matt Campbell]

Has this changed in 2013? I don’t think so, but was hoping. Wonder if there’s plans to add this. Just started using AE more, but I can’t get rid of Motion. Just love that darn app. Things seem much easier in Motion. And 5 is great!

OSX 10.7.5 with a 3.39 Ghz Intel Core i7 on a built up Hackintosh
16 GB of RAM with OSX on SSD, (2) internal HDDs RAID’d 1 for project files and External RAID 5 for all project assets (media, GFX, stills, etc.)

[Matt Campbell]

Thanks Corbin. Is the 24-70 ok for crop sensor cameras? We use the 7D. And due to cost, I think I’m leaning towards the Sigma or Tamron. But I read somewhere that one of these lens’s was harder to focus manually due to the shorter traveling focus ring. And the other one, the ring travels further and is then easier to keep in focus. I’m not sure which one that was, nor do I know which is better as I’m still pretty new to DSLR video. I would think more travel would be easier to use, more fine tuning than a shorter travel ring. With 1 small tweak you could be out of focus. Does this sound about right? I want to say I read that about the Tamron. So might be leaning towards the Sigma then.

OSX 10.7.5 with a 3.39 Ghz Intel Core i7 on a built up Hackintosh
16 GB of RAM with OSX on SSD, (2) internal HDDs RAID’d 1 for project files and External RAID 5 for all project assets (media, GFX, stills, etc.)

[Matt Campbell]

Thank you.

OSX 10.7.5 with a 3.39 Ghz Intel Core i7 on a built up Hackintosh
16 GB of RAM with OSX on SSD, (2) internal HDDs RAID’d 1 for project files and External RAID 5 for all project assets (media, GFX, stills, etc.)

[Matt Campbell]

I’ve never used Resolve nor do I know if this would work or not, but try exporting an EDL, import into Resolve and link to the media? This is how I would send things to post facilities for grading and the online edit for finishing. When making the EDL, duplicate your timeline and remove all effects, transitions and scaling from the clips. I would also make a copy of your media, cause I’m not sure if that will affect the original clips or not. My guess is no. Like Color, it should render new media when complete.

Hope this helps. But never done this with Premiere. Have done with FCP and AVID though.

OSX 10.7.5 with a 3.39 Ghz Intel Core i7 on a built up Hackintosh
16 GB of RAM with OSX on SSD, (2) internal HDDs RAID’d 1 for project files and External RAID 5 for all project assets (media, GFX, stills, etc.)

[Matt Campbell]

Helps very much, thanks. I was just reading a post I think you were a part of, but could be wrong. Does Premiere even output 10-bit. I thought I read somewhere that it only outputs 8-bit signal anyway.

The specs on the FSI BM210 does show 10-bit processing for SMPTE-425M-AB, but obviously will only show 8-bit. So assuming I could output a 10-bit signal from Premiere and through the Decklink Studio, that panel would only show an 8-bit signal anyway. I think I can live with this, since the majority of our work is online anyway. Just want a good panel with good color for reference and light grading. Everyone raves about the FSI, so I’m really leaning towards them.

OSX 10.7.5 with a 3.39 Ghz Intel Core i7 on a built up Hackintosh
16 GB of RAM with OSX on SSD, (2) internal HDDs RAID’d 1 for project files and External RAID 5 for all project assets (media, GFX, stills, etc.)

[Matt Campbell]

Matt, you’re correct, there is not option to change those settings in Premiere CS6, the only options are ignore alpha and invert. Neither of those I want. Did they update that in Premiere CC?

Matt & Andy, thank you! Unchecking Premultiply did the trick. I guess I never realized that before and should have looked into it. When this has happened in the past, I would always export and ProRes clip from FCP or PP and bring into MOTN and composite on it, only leaving that layer turned on for my exporting. Thus giving me the results I wanted.

Again, thank you. This will save me a few steps and allow me to keep my GFX all on 1 layer in PP.

OSX 10.7.5 with a 3.39 Ghz Intel Core i7 on a built up Hackintosh
16 GB of RAM with OSX on SSD, (2) internal HDDs RAID’d 1 for project files and External RAID 5 for all project assets (media, GFX, stills, etc.)

[Matt Campbell]

Great point Bob. But I thought I read somewhere that tBolt 2 would backwards compatible? So that should buy at least another year. Haha. I’ll look into Sonnets stuff a little deeper. But good to know my PCIe won’t go to waste just yet. Thx again.

OSX 10.7.5 with a 3.39 Ghz Intel Core i7 on a built up Hackintosh
16 GB of RAM with OSX on SSD, (2) internal HDDs RAID’d 1 for project files and External RAID 5 for all project assets (media, GFX, stills, etc.)