[Morten]

As a recent LTO purchaser, I can recommend BRU. Easy to use – yet powerful cataloging features.

– No Parking Production –

2 x Finalcut Studio3, 2 x Prod. bundle CS6, 2 x MacPro, 2 x ioHD, Ethernet File Server w. X-Raid…. and FCPX on trial

[Morten]

We have problems with some flavours of AVCHD that Avid will not import – so we had to transcode.

– No Parking Production –

2 x Finalcut Studio3, 2 x Prod. bundle CS6, 2 x MacPro, 2 x ioHD, Ethernet File Server w. X-Raid…. and FCPX on trial

[Morten]

Using the YC Waveform scope you can see a dotted line above the zero level. Ideally blacks should reside above the dotted line – or at leaf be kept above zero. If you crush the blacks with the “input levels”, you should use the “output levels” to balance back towards zero.

– No Parking Production –

2 x Finalcut Studio3, 2 x Prod. bundle CS6, 2 x MacPro, 2 x ioHD, Ethernet File Server w. X-Raid…. and FCPX on trial

[Morten]

use the scopes. (it requires understanding of colorimetri)

– No Parking Production –

2 x Finalcut Studio3, 2 x Prod. bundle CS6, 2 x MacPro, 2 x ioHD, Ethernet File Server w. X-Raid…. and FCPX on trial

[Morten]

License server is only necessary for floating license, but could reside on any machine on the network.

– No Parking Production –

2 x Finalcut Studio3, 2 x Prod. bundle CS6, 2 x MacPro, 2 x ioHD, Ethernet File Server w. X-Raid…. and FCPX on trial

[Morten]

Node-locked means it onlyregisters for one computer. Floating means you can register in or out on different computers, much like Adobe CC.

– No Parking Production –

2 x Finalcut Studio3, 2 x Prod. bundle CS6, 2 x MacPro, 2 x ioHD, Ethernet File Server w. X-Raid…. and FCPX on trial

[Morten]

Make sure you have the latest Boris CC versions. They have been updated recently on account of CC.
Generally the BCC filters work best in AfterEffects. We try to avoid using them in Premiere.

– No Parking Production –

2 x Finalcut Studio3, 2 x Prod. bundle CS6, 2 x MacPro, 2 x ioHD, Ethernet File Server w. X-Raid…. and FCPX on trial

[Morten]

The LED wall has a processor that will map the pixels from your video to the wall. So you need to know what the wall resolution is, and create a playable video file with the content in a 4:3 area, that the processor can scan and map.

For example if the LED wall has 1280×960 LED dots, you can create a 1920×1080 video where the content is present from top left corner and 1280 pixels to the right, and 960 pixels to the bottom of the frame. The rest of the frame can be black.

– No Parking Production –

2 x Finalcut Studio3, 2 x Prod. bundle CS6, 2 x MacPro, 2 x ioHD, Ethernet File Server w. X-Raid…. and FCPX on trial

[Morten]

set it up in the Preferences: Audio – Default Audio Tracks – set Stereo Media to MONO. This will let Premiere import as FCP7 did.

– No Parking Production –

2 x Finalcut Studio3, 2 x Prod. bundle CS6, 2 x MacPro, 2 x ioHD, Ethernet File Server w. X-Raid…. and FCPX on trial

[Morten]

Yes, unless this is a video wall or LED solution, you must match the projectors resolution – typically 1024×768 pixels for 4:3

– No Parking Production –

2 x Finalcut Studio3, 2 x Prod. bundle CS6, 2 x MacPro, 2 x ioHD, Ethernet File Server w. X-Raid…. and FCPX on trial