Paul Ingvarsson
Forum Replies Created
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I wouldn’t compare the bare bones of FCP against Nitris – take a look at http://www.siliconcolor.com to see what you really need for colour correction on FCP. Nitris is great for real time grunt, but I find the layering quite limited. If you can push the budget to DS Nitris then I would always choose that. Avid are about to support a dual boot combination so that you buy DS and get Symphony as well, all you do is reboot from one to the other.
I own and operate FCP (incl shake motion etc), DS Nitris & Symphony Nitris and I find the FCP fiddly – but that said I’ve not dedicated enough time to it and i’ve hired freelancers that have performed amazing effects heavy edits on it. I reckon Symphony Nitris with AFX would be my tool of choice if the budget was tighter though.
Good luck, it’s no longer an easy decision with all these boxes around.
Paul
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Thats the nature of avid – it gets to me all the time….
The solution is to edit your title and select everything in the title and copy – then create a new roller title in 16:9 mode and paste into this one.
I hope this helps – it should work.
Paul
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A question – why choose to online in DS??
If you wanted total conform then why not online in Symphony or Symphony Nitris?
I’m a DS & Symphony operator and it sounds like bad decision making combined with a lack of knowledge to me. You just don’t put complicated offline edits into a DS unless you plan to recreate most of your effects from scratch. Most would see this as a bad thing but offline editors given a bunch of plugins don’t have the time or mindset to create what DS operators do day in day out.
I’ve just finished an 8 part series for Sky in the UK which was offlined on adrenaline and onlined on DS. The offline edit was ‘tricksy’ but I needed to go beyond what the offline editor have given me. I kept all the useful effects like resizes etc but rebuilt all other effects in a way that DS allowed me to template my graphics and have maximum flexability and speed when i’m sat in from of the client. the client was amazed at what we could do and how much better his show looked than he expected – he won’t ever be onlining on Symphony again and he didn’t once complain while he watched me recreate bog standard avid effects into the DS realm.
I do agree that it would be nice if projects could transfer with more effects intact but DS has never been able to do that – so why wake up one day and expect it to suddenly do it on a current project??
Paul
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Hi Franco,
If you need to adhere to the Tech Specs you will be best off to use a legaliser (I use an Eyeheight Multidef Unit) this means that if it looks good – then it is good (providing your monitor can look at the output of the legaliser). I’m sure that the guys at aji doing the budget will not stretch to a Vectorscope/Rasterizer to help you with the grading/level checking.
Because you are doing multi standard finishing in interlaced format you will need a monitor that will handle interlace well… I use a Vutrix monitor form Frontiniche that displays interlace very well and is calibrated for colour over a long period of time, the blacks are also good and it a has a glossy glass front which makes my clients check to see if it’s CRT or not…
Having said that you also need to protect yourself for downconvert issues – I would recommend a grade 1 SD monitor on your SDI downconvert output, that way you are protecting yourself for everything.
It’s an expensive game being sceptical! I would say they would be happy with a Dell 24″ display for taking component HD input and a legaliser. I have this on my FCP setup – but I think the dell is quite bad at ghosting (or lag) and it deals with interlace badly.
Hope this helps,
Paul
Freelance DS/Symphony
London -
Chossy,
Media Management (or sequence management seeing that the media isn’t even avaiable yet!) like this in FCP is a Pig. If you still have the avid handy select the sequence you want to recapture duplicate it then decompose it with 50 frame handles. This breaks the link between the long original clips.
This saves doing all the massive workarounds in FCP.
Paul
Freelance DS/Symphony
London -
Hmmm – I’m about to get one of the dell 24″ displays – I was under the impression that people here who have them are very happy with them and don’t suffer from the drop frames issues
Paul
Freelance DS/Symphony
London -
Kim,
All about PPM’s – we use them a lot in broadcast in the UK
https://www.murraypro.com/PPM.htmA real audio mixer won’t provide you with a built in amp. Most Nearfields like the Genelecs are self powered – ie have amps inside them – they also have volume knobs on them if you don’t mind using them – otherwise som ething like this would do:
https://www.colemanaudio.com/swtchr.htm
Check the PS1APaul
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Hi Kim,
As I understand it (not owning an AJA I/O) you have analogue audio outputs as well as SDI embedded in the Video signal. I would connect these to a PPM meter that as outputs that can drive the imputs to speakers – Genelecs are good albeit expensive if it’s your own money. If you can get a PPM meter that has a volume control switch as well. Just make sure yourself or an engineer calibrates the PPM’s to match your SDI output with a reference tone. Most PPM units have red LED’s to warn of high levels as well – although they do vary depending on the ballistics of the units themselves (ie how quickly they react to short sharp sounds in your mix)
With all this digital audio routing I personally stay away from ‘audio’ mixing desks and would opt for a control surface mixing desk instead. The advantage of this is that your entire audio ‘mix’ would be contained in the FCP project and not rely on you having your desk set up exactly the same way each time you return to the project. The Mackie MCU receives quite a lot of praise and is a control surface mixer.
Paul
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The term in Avid would be to ‘decompose’ your sequence before export – with 50 frames handles. On Avid this does not do any timewasting media management that a consolidate would do – it just creates a new sequence with all media offline.
Paul
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[gary adcock] “in anything other than the apple or panasonic compression format”
Sorry Gary, I thought when you said compression format you meant compressed – what is Panasonic’s uncompressed format called?
Paul
Freelance DS/Symphony
London