Pepijn Klijs
Forum Replies Created
-
Im facing the same issues as you do Gabriel. I also have the 27″ mac, although not with thunderbolt, so my options for resolve on the iMac are zero. I’m gonna build a pc dedicated to work with Resolve and for for referencing I’m lookin into different monitors from around 4 to 5k. I’m expecting the whole setup to be around 7k.
I think the only solution, without buying a new computer, is one of Blackmagics’ thunderbolt products like the ‘intensity’. That way you can at least see the actual signal you’re producing.
But… You might wanna wait a little and see what goes on at NAB this year, cause I’m expecting Adobe to release Speedgrade very soon. The previous, or current version of this software runs very well on the iMac, in my experience even a lot faster. I don’t know how they handle their signal output, but it’s worth a google.
good luck
Avid/FCP Editor, Amsterdam, The Netherlands
http://www.pepijnklijs.nl -
Would love to help out but there is soem things I don’t understand in your post… The subject was importing an .avi file, but in the post you mention mxf.
On the mxf though… What you can try is use the AMA link to file function to read it within the avid. Then you can transcode it to the correct format. Other option is to import the file into your bin. If those things don’t work you can manually put it in your avid mediafiles folder. Avid will detect new added files and scan the mediafiles folder. After that your clip should appear in the media tool.
Good luck
Avid/FCP Editor, Amsterdam, The Netherlands
http://www.pepijnklijs.nl -
[Juan Salvo] “Why not use exFAT? Works fine on windows 7 and updated vista (does anyone use vista).”
Have you actually had hands on experience with exFAT?
I tried the exFAT format, but when I wanted to consolidate, I kept getting errors. After reading some threads I gave up, as it seemed that many people had weird problems with the filesystem and in some cases their data even got corrupted.
My own experience so far is that I had a exFAT sd card delivered to me that, as soon as I stuck it into the machine, the whole system crashed.
My solution today, for consolodating to NTFS volume from a mac has been a workaround. I installed NTFS for MAC on my machine. After that I consolidated first to a mac volume and then manually (finder) copied all the files to the mediafiles folder on the NTFS volume. That seemed to have worked!
Avid/FCP Editor, Amsterdam, The Netherlands
http://www.pepijnklijs.nl -
Sorry to question your post, but are you sure to have consolidated from a mac to ntfs volume? Reason why I’m asking is that I can’t get it to work for me and I’m using Paragon 9.5.3 and Media Composer 6.0
Thanks,
Avid/FCP Editor, Amsterdam, The Netherlands
http://www.pepijnklijs.nl -
[dennis quintanilla] “What about the LMD-2341W ?”
Hhmmm… It’s almost as expensive as the PVM-2541 mentioned earlier in this thread, but that’s an OLED…
So what if I had to choose between the two, the LMD-2341W and PVM-2541?
I just saw an oled screen once and that was a bvm I believe and it was stunning, especially when the guy told me it was ‘on’ while I thought it was off cause that’s how black its black is. (there is an old saying, once you go black….)
Avid/FCP Editor, Amsterdam, The Netherlands
http://www.pepijnklijs.nl -
Maybe I’m not explaining it right… One more try!
Sometimes I edit shows that were shot progressive, like with a XD CAM, in progressive mode. And sometimes there’s some footage among the footage that was shot interlaced (let’s assume the cameraman made a mistake a forgot to configure the cam right). When I edit the footage on my iMac I cannot see the difference between interlaced and progressive, but when Im at a decent facility with a reference monitor hooked up thru sdi, I can immediately spot it.
So that was my question more or less… Can you spot/detect interlaced footage on a dreamcolor or LG24xx (forgot the numbers)?
Avid/FCP Editor, Amsterdam, The Netherlands
http://www.pepijnklijs.nl -
[Knut Jansohn] “As written, no issues with 1080i 25. Looks pretty good. Lcd aren’t interlaced devices anyway. So the signal has to be rehashed by the electronic. The JVC like any other broadcast-lcd has to do that too.”
But on the Sony lcd’s at work I can clearly detect interlaced footage, so I’m assuming this will be the same with the JVC panel, right?
Avid/FCP Editor, Amsterdam, The Netherlands
http://www.pepijnklijs.nl -
Any specific reason why I should say no to JVC? What are the cons?
Avid/FCP Editor, Amsterdam, The Netherlands
http://www.pepijnklijs.nl -
Thanks for both replies!
I’m still thinking that FSI doesn’t give service in Europe, cause that’s what they told me at the last IBC 2011 in Amsterdam. BUt I just sent them an email to confirm this.
The LG W2420R does look interesting, but also raises two worries for me:
1. I know that dreamcolor users have to invest in another card to output the ‘right’ signal over hdmi. I believe it’s a decklink card.
2. Working a lot for television I still often encounter interlaced footage, which I can’t detect on a regular computer screen. I wonder how the LG works with that. It’s quite a crucial thing for me. Any experience with this?So I’m still thinking to pick up the JVC DT-V24G1. Anyone ever worked with this panel?
Avid/FCP Editor, Amsterdam, The Netherlands
http://www.pepijnklijs.nl -
Hi Michael,
What kind of motherboard are you using?
Avid/FCP Editor, Amsterdam, The Netherlands
http://www.pepijnklijs.nl