Oliver Peters
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No offense, but did you actually bother to read the Kona2 control panel manual (PDF) before doing this? Kona2 adds a whole lot of complexity to FCP in general. You really need to review and understand this before embarking on what is a very complex process.
Sincerely,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com -
Aaron,
Are these image sequences going through the same path as the rest? Make sure you export from QT Pro into the same codec as your media. Do not make them a self-contained image sequence with the graphic codec. Make sure Max White = White, not SuperWhite and that you are in highest quality YUV render precision, not RGB. If you bring a graphic file, like a TIF or Targa into FCP, the image is brighter and levels in the 235-255 range on an 8-bit scale get clipped. This doesn’t happen if you export them into the correct codfec first before bringing them into FCP.
Sincerely,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com -
Chris,
There is NO FCC mandate for broadcasters to go HDTV, only digital transmission. HDTV is optional. I don’t know where the idea that only D5 is the delivery format came from. Probably more folks at any sort of network level want HDCAM than D5 and few, if any, take DVCProHD. The bigger outlets are equipped to go between D5 and HDCAM depending on their inhouse standard. It is also important to know whether the delivery requirement is 1080i or 720p. Few will request 1080p/24. Even if you produce in this format, you will be asked to deliver either an HDCAM 1080i/59.94 or D5 720p/59.94 master. At the highest end places, HDCAM-SR may also become an option, but most likely that will be for masters and not distribution copies.
Sincerely,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com -
[Uwe] “AVID will charge you a Digi I/O box for thousands of dollars to digitize 8 channel audio. “
Uwe,
That’s a bit misleading. The multichannel audio features of QT7 and FCP5 only mean that it will write a file with multiple channel of audio. It DOES NOT provide actual hardware I/O for multiple audio channels as the Digi box would. You still have to have something like AJA’s Kona2 or Io to get these audio channels actually into your system.
Sincerely,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com -
[Kevin D] “AVID should update their Symphony Nitris PDF product brochure on their website. The image used for the system looks like a terrible Photoshop hack job. Shoot the PR person who let that one get out the door.
….I never want to see another AVID Pizza Box again. The totally outdated PInnacle hardware they kept packaging with their Symphony and its crappy soft key problems cost me a very lucrative job on a series a while back. The “great editing platform, bad graphics potential” mantra is getting really tiresome. Hopefully, this will drastically improve. “Kevin,
What Photoshop hack are you talking about? What are you talking about Pizza Box? Hasn’t been part of an Avid system since ABVB. That’s the BOB in the photo. Same chassis as MCA. Nitris uses boards inside the computer plus the BOB. In order to offer “Total Conform” you have to start with a software feature set for the effects palette that is identical to current versions. That is outdated for now, but you DO have to start there. I’m not a fan of the Symphony DVE either, but as bad as it is/was, it’s still far better than the non-HQ OpenGL effects in MCA, Xpress Pro or especially FCP. I have yet to see an NLE DVE that tops the best standalone hardware DVEs (at least for SD work). The exception would be Media 100’s 844/X, which has one of the claenest, bar none. If you want good looking software DVE effects, like at Quantel, Autodesk, After Effects or Boris Red or Blue.
Sincerely,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com -
BTW, why not download Avid Free and try it yourself and see if you like the interface and approach to workflow. That’s a good start in your research.
Sincerely,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com -
The problem with asking these questions is that you will never get a straight answer – only a multitude of totally contradictory responses depending on the bent of the poster and the luck they’ve happened to have. FCP, Avid, Premiere Pro, Liquid, Edius, Vegas and all the rest are all good. They all work and all have their supporters. There is no right or wrong answer. You have to match the features and workflow to your needs. All software will screw you when you can least afford to have it happen. All apps crash. All hardware hiccups. Generally people have serious problems with one app or another because they do not RTFM or are involved in some level of operator error. These are simply tools and there is no longer any big secret as to how to write an NLE app and have it work. Only preferences and cost.
Sincerely,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com -
Soft shadows are there, but not soft glows – only hard borders. You can fake it in a number of ways, but for the same looking style, a single word would look about the same as in Photoshop. Some systems now have both Title Tool and Marquee and maybe even Boris Graffiti (as a plug in), so maybe they should learn their tools better or petition the boss to add Photsohop so they can do it themselves.
Sincerely,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com -
The original 2 comments boil down to the fact that the feature set between MCA and Symphony and DS Editor have become very similar. Heck, even Xpress Pro HD isn’t that far off. There are a few add’l features in Symphony as it stands now over the others, but whether or not that’s worth it to you cannot be answered by others. If you don’t need the extra that Symphony can offer – even in its present form – then MCA HD is far more cost effective. The main things you give up with MCA HD versus Nitris (DS or Symphony) are multi-stream HD (you have to render) and uncompressed HD. If you are in a “close to air” environment, these can be important advantages, otherwise probably not.
Sincerely,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com -
Mel,
This is a good concise post. The offline/consolidate/online procedure is the way this business is SUPPOSED to be done. It is not the exception. Without turning this into an Avid/FCP thing, this is the biggest single weakness for FCP when comparing the two and something that Avid has largely done right since near the beginning. The one thing I would add is to be careful of nested sequences. These are frequent problem areas in my experience with FCP onlines.
Sincerely,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com