[Paul Flint]

I did an update to version you suggested, nothing changed. I’ve managed to figure out a way for remote deck control so I can ingest and output. I had to use RS input on Z800 not on IO Express in order to make it work.

Still got that audio issue that I cant rid off.

[Paul Flint]

one other thing, can you suggest any adapter for macpro to VTR for remote control that will work with mojo sdi and MC5

[Paul Flint]

yea, that is a good idea to make 2 separate partitions, but when it comes to hardware wont aja and mojo HD come into some kind of conflict ?

[Paul Flint]

cables checked, kboard checked,
As I’ve stated in my 2nd post, those drops are gone when I force FCP to render entire sequence.

[Paul Flint]

small update : I did a bit of testing and here is what I’ve found.

Those drops are not only white. They happen when I use generated images in Final Cut pro like: bars&tone, Solid color etc. When I put those clip in a sequence next to each other for example :

bars – black – footage – black

i got :

– white drops when bars end and black starts
– white drops when footage ends and black starts.

I’ve put for test white solid – black solid – white solid

then i got white drops on black after white ends and black drops when black ends.

Same thing when i use gray/black and gray/white

On the other hand when I force FCP to render the whole sequence ( by doing anything fe using a shape mask with 100/100 percent inverted so it wont change the image ) drops disappear.

I saw drops one time in the middle of the footage but that was just 1 time.

Any ideas ??
This is making me nuts since I don’t know the cause.
Paul Flint

[Paul Flint]

Warsaw/Poland and it’s really hard to find a technitian specilized in that field.

[Paul Flint]

you both are right, I don’t want to touch it myself. We have our own system administrator that is capable of taking care of setting up system like that but the problem is that he does not have any experience with such postproduction environment. Thats why I want to consult you guys on the forum and check out different solutions at other facilities. 2nd issue is that we are the only studio in my country that is trying to work with full final cut studio environment vs flame/smoke/avid combos in other fx houses. And I cant afford to guess ” well this might work good and handle the load”. I need to be certain before I buy the solution. So asking around does not hurt 🙂

thanks for your feedback
cheers
Paul

[Paul Flint]

thanks shane,

To clarify things,

I’m not using FinalCut Pro for editing per say. The difference between editing at FCP and my needs is that editors can used compressed footage, prores, or even more compressed formats. I cannot – since Final Cut studio is working as an online station for me. I ingest from digibeta ( using EDL provided to me ) – full uncompressed fottage, use color for grading and do other compositing stuff, then I spitt it out to digibeta ( HD and SD ). So in order to have a good environment storage must be able to sustain 2 streams of uncompressed HD footage per station. I got 3 stations that means 6 streams at max.

If I use 2x Gspeed eS for each station that will work when it comes to speed, but I want to have centralized data storage for all FCP stations.

and I want to manage project and its data using Final Cut server.It is in a way project management system for me.

[Paul Flint]

Gary, we figured it out 10 posts before that, but what workarounds do you have in mind. Seams that you have to deal with this stuff every day so please share with me some workarounds. I do know I need a workaround but dont know how. Since I cant stop using FCP the trick need to involve FCP in its pipeline. Maybe this will help other FCP+AJA combo users.

cheers
Paul Flint

[Paul Flint]

hmm this seams to complex – and it slows the process a lot. I need to find some automated way to compensate for the gamma shift while the card is converting the image from YUV to RGB while ingesting without any image quality and detail degradation. Any ideas guys ?