Michael Sacci
1
COW Coin
Forum Replies Created
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oh, try ebay,
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If you are just test, you may want to just rent a card for a week. I sure 16GB cards are going to be released and they will probably be the same price as the 8. I now that doesn’t help you now.
cameras seem to be is short supply also.
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[theguybehindtheguy] “DV cam or DVCpro”
What decks are you using, these are firewire codecs, no cards needed, unless you are wanting to edit uncompressed and capture via SDI.How you looked on AJA web site for drivers and info. The card is a PCI-X and a G5 is required, your specs are a little off.
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The laptop pass is there so I don’t have to haul a tower and monitor to the place with the deck. Laptop and Io is a lot easier. Unhooking and rehooking up all the cables on a tower is not fun. Like I said this is a balancing act. When the Quad Dual Cores come out, maybe I will just leave the tower up there to master and use the new to edit. 🙂
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My workflow has been working; I just want it to work faster. I’m trying to balance quality, speed and budget. I have access to a DBeta deck for mastering that does not cost me anything but my time. I have a system with a Kona3 card and a Laptop with an Io. So to take advantage of AJA hardware downconvert I connect the Kona3 to the Io, do a capture now to the Laptop (10-bit Uncompressed SD) from a DVCProHD timeline. The DVCProHD has been color corrected (shot by shot) with 3-way (looking at Colorista now) The only thing that is outside Broadcast safe is direct shots of stage lighting, all other highlights are at or below 100. I’m adding the Broadcast Safe filter to the SD timeline and rendering before doing an ETT.
What I was hoping to do was to cut down on the render time of the Broadcast safe filter. I have delivered 9 shows to the client so far and they have been happy so I’m not too bad off.
One thing I would love to see is a hands-on color correcting workshop a lot more in-depth that the adv FCP book.
Thanks for everyone
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David,
That is for the most part how I’m doing it. I wish every client had the budget to do it the right way but we have to figure out how to give them the best video within their budget and timeframe.
I guess I was one of the people that thought it was a broadcast safe limiter on the Kona, what did it actually do.
Is there a hardware limiter out their, turn time is tight so it would be great to do it along with the down convert? A friend also recommended Syn Ap so I’m doing to check it out.
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So David, you are saying that NO one masters from a HD timeline to DigiBeta? That is what I’m going just with an extra step inbetween. Instead tower with Kona 3 to DBeta, I go Kona3 to Io (Capturing 10-bit uncompressed) to DBeta deck. This extra step should not have much effect on the end results. So this is no magical process but what I would assume to be a fairly common practice.
I could apply the BS filter to the HD timeline but as my orginal post is asking, did not the Kona3 has a limiter in it when v3 first came out?
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The problem was the deck setting, it was a rental and no manual but I was able to download it from Panasonic along with a flow chart that told me what menus to set as well as the settings. Wish every hardware manufacturer put manuals online and made them easy to get to.
This has been a wierd capturing process, I still could not do log and capture, stop with a “wrong cadience” error every time but I did fine with capture now, which is the way I captured all the tapes. Seems like I have been fighting the project every step of the capture, p2, firestore and tape, but it all seems to be okay in the end.
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XDCAM is a highly compressed format and lower end color space, not the best choice for keying. the problem you described are common to this format.
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One place that the MacPro will dominate is rendering and encoding. For DV editing the iMac will be a strong system but if Motion is going to be a major part of what you are doing you may want to consider going with the MacPro.