[Paul Kim]

Thanks Noah. I hear good things about Eizo.

[Paul Kim]

Thanks, yes I tested them out a few weeks ago and they were brilliant. But we’re still talking about whether or not they can compete with HMIs, and it doesn’t sound like they’re anywhere close to matching the performance or color. I don’t frequently need HMI output, but in some setups, definitely.

[Paul Kim]

Hope you don’t mind me resurrecting this thread, but I’m considering the same issue now. I’ve been comparing the Litepanels Hilio (marketed as a 575w HMI replacement), but I also noticed Aadyntech now has a Punch Plus fixture that they market as being brighter than a 2.5k HMi, costing maybe 10k.

Anybody here have any experience with these two fixtures? The times they are a changin’…real fast.

[Paul Kim]

I’m revisiting this old thread as I had the same issue this week. Going into the BM settings (under System Preferences) fixed the issue once i rebooted FCP X. Why FCPX doesn’t give you the option to choose different settings I don’t understood.

My question is–are all of you basically going back and forth between different frame rates depending on your projects (1080p 29.97, 1080p 23.98, etc)? Or are you just defaulting it at 1080p 29.97?

[Paul Kim]

Great leads, thanks folks. I’ve left a message with Barbizon already and also didn’t know Calumet was a Matthews dealer. Yeah, the idea was to order, drive in a truck and pick up.

[Paul Kim]

If you combined the Mac Pro (as it appears) with Blackmagic’s Ultrastudio for Thunderbolt, what else would you need?

Ah. Never mind, I thought it had some graphics capabilities built in.

[Paul Kim]

So I’m wondering, what’s the disadvantage of having only the .mts files to edit with, without the other associates files in the original file structure of the SD card? Do you lose all the camera metadata associated with the clip?

I’m wondering because of all the people touting Premiere as advantageous since it can pull in .mts files without a conversion. I am also wanting to explain to people what they’re losing (if anything at all) if they go that route with Premiere.

I’ve always been advocating to maintain the entire file structure if only for the reason that I can work on multiple other NLEs, but I was wondering what Premiere was doing and what disadvantages it had if any when just the .mts files exist, and the rest was lost due to improper file management by a producer or client. Thanks.

[Paul Kim]

Hi Kevin,

Thanks a lot, these are the details I’m looking for. The BlackMagic HD Extreme is what I was planning on. I wasn’t sure what card was preferred though.

I think it is highly unlikely that we’ll be dealing with anything uncompressed or 4K (at least for several years), as most of them are working with ProRes.

The spacing is a concern, as it’s both for senior projects and for smaller, advanced classes. I’d have to look at the blueprints again to give dimensions. I was thinking 65″ monitor because a lot of the projectors I’ve looked at that have enough lumens to not bring the room lights way down are really expensive, plus I felt it required a little bit more thoughtfulness to take care of, as opposed to a master power switch for all the monitors. But if you do know some good options, I’m all ears.

You make a really good point about the size of the calibrated reference monitor–for instructional purposes I should have something bigger than 17″ so that multiple people can view it. The 24″ does look nice. What control surface are you using?

Any recommendations for proper audio out and control? I’m a bit out of touch in the audio realm, although I’m pretty familiar with the actual monitors themselves, but I don’t know what people are currently using to connect to their NLEs and keep them timed properly to the images.

[Paul Kim]

Doug, these are very helpful thoughts. I’m sure the kids really enjoy learning under you. I like your philosophy, and I think I’m headed in that direction of multiple platforms as hopefully I can increase the budget to have all the software we’d like.

[Paul Kim]

I really appreciate the comments and multitude of perspectives. A couple of you mentioned FCP7 still being the standard. This, I recognize, and it’s what my company’s platform has been and my own personally on many a project. But do you think it makes sense to introduce it (think about students who don’t have a history in editing) and to let that be a part of instruction? The earliest of them will be working in two years time, and I had thought by then we’d be long past FCP7. I thought about a short intro but that’s about it. Anyhow, maybe I’m thinking past that too much.

Avid I discounted primarily from the standpoint of budget–and that if I’m having to choose one or two pieces of software to put in our Mac lab, it would be either PP or FCPX as more accessible options.

Also in my network of professionals (none of whom are in mainstream broadcast television), everyone who was on Avid moved away from it and was on FCP7. So, not a decision based on science, but I also thought they could transition to Avid if the opportunity arose.

I should also say that the majority of the program is geared toward documentary, and the organizational tools in FCPX has been appealing in the indie doc world.

However, the argument to have multiple NLEs is stronger than I considered. I should perhaps revisit our budget and see if there is a way to do this and manage less seats initially until more funding comes later.

My only concern with this–and this is a question for those teaching: Does having a variety of students on different NLEs (in terms of their personal choice) affect their ability to collaborate on projects–something that significantly affects their productivity?

Students have enough trouble working together to begin with, and I’m perhaps incorrectly envisioning them collaborating less because some are on different platforms. Especially for those with their own laptops who can only afford one piece of software.