[Paul Dickin]

[walter biscardi] “they know something I don’t know. “
Hi
I don’t know it either.
But Cocoa 64-bit code HAS to be the future – and Adobe says Photoshop 64 for Mac is delayed to CS5 for that reason.
I guess that Apple has just the same timescale upgrade release problem.

Luckily CS4 PremierePro/Soundbooth/OnLocation is out there now to lead Apple in the right direction 😉

[Paul Dickin]

Hi
From the IBC FCPUG Supermeet last week, where Paul Saccone, Director of Technical Marketing in Apple’s Applications Marketing group, will visit us all the way from Cupertino Ca. and provide the latest news on Final Cut Studio.….
Apparently ‘latest news’ is Red compatibility.

Apple are probably waiting for climate change to kick in with an ice age to announce Snow FCS 😉

[Paul Dickin]

[lisa rolley] “…there is this jittery awful effect on playback in NTSC FORMAT DVD on TV”
Hi
Are you looking at it on a proper NTSC-switching production monitor?
Because an ordinary PAL television set could well be scaling your image – badly – if you are viewing your movie as PAL60.

[Paul Dickin]

Hi
What are you viewing the NTSC conversions on?
Only a proper NTSC video monitor (or TV) will show the quality of the transcode.

The Nattress standards converter gives excellent results, and Graeme Nattress says Compressor can do as good/better, but a lot slower.

[Paul Dickin]

Hi
Did your research identify any don’t/don’t/don’t ones?
(Work/use same chipset/same driver)?

[Paul Dickin]

Hi
Well, they put two dual-core CPUs in the last run of G5s – how high is that Mac rated now?

With i7 (Nehelem) due Q4 2008, what longevity value did a 486×2/66 have just a few months before the Pentium shipped?
https://www.anandtech.com/cpuchipsets/intel/showdoc.aspx?i=3326&p=6

[Paul Dickin]

[Dan Riley] “If FCP can capture these formats natively…”
Hi
I think you will find that NO editing system will work with MPEG-4 AHDVC natively – to do so is still beyond the power of an 8-core CPU.
Apple systems will require a transcode into ProRes 422 (or AIC at the consumer end of things in line with the expected users of this sort of kit).

Device control is an outmoded concept with digital file acquisition – its all file transfer, managed by the computer’s OS, or a Log&Transfer utility.

Actually the Sony one has editing facilities in-camera – the clip DIVIDE function, erasing the trimmed sections.
Then I think you are supposed to output your movie to an SD card, and pop that in the slot of your large-scale plasma or LDC display, and play the movie off the card.

It looks like only Avid, with their Pinnacle subsidiary seem to be ahead of the game with consumer long-GOP ACHVD – check out Pinnacle Studio 12 😉

[Paul Dickin]

[walter biscardi] “You have to buy Premiere anyway …so as long as Premiere works,”
Hi
It doesn’t – certainly for PAL/50Hz users in the UK 🙁

May 2008
Dear Ms. XXXX,
Premiere Pro and Encore CS3 were never tested on an Apple 8 core processor system, as that processor was not available to Adobe for testing before the release of the product. As a quick check for us to know how do Premiere Pro and Encore deal with your system information, please open Encore CS3 and under the Help menu, click on System Info, what does it say in there?

If you need any other Technical assistance, please feel free to contact us again.

Yours sincerely,
Sergio Cordeiro

Adobe Technical Support
Tel: (UK) 020 7365 0735
Tel: (Eire) 01 242 1553
Fax: 0031 20 5820875
Email: englishts@adobe.com

[Paul Dickin]

Hi
IF you are capturing DV material over FireWire THEN Live Capture Plus handles this situation far better than FCP:
https://www.squarebox.co.uk/lcplus.html

[Paul Dickin]

Hi
If you’re editing interlaced footage have the Canvas window at 100% – that way you can see both fields.
The glitch could just be on one field.