Richard Cooper
Forum Replies Created
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Hi Ian,
I feel your pain. There are a couple of issues here. I too had sluggish timelines when working in CS5.5 on prety much the same system that you have. ProRes, AVCHD even XDCAM was very sluggish and I almost bailed on the CS line. BUT there are three things you can do that will make a HUGE difference.First and foremost: Upgrade to CS6. Get the cloud membership if you cant afford the purchase upgrade. This will help a lot and I noticed a big difference right away.
Second: And this is a BIGGIE, get yourself a Cuda graphics card. I know they are not cheap but there are less expensive models out there over the Quadro4000 and they work better. I installed the GTX570 from MacVidCards on ebay and my system now works wonderfully. Premiere is made to utilize the cuda cores from your graphics card and really speeds things up.
And lastly, A fast RAID hard drive will always help speed things up in Premiere.
Hope this helps.
Richard Cooper
Frostline Productions, LLC
Anchorage, Alaska
http://www.frostlineproductions.com -
Barbura,
The Kona line cards are for Broadcast video in and out of your edit machine so you can monitor a proper signal on a broadcast monitor. They wont give you faster renders or faster editing. What you would need for this is a nVidia Cuda accelerated graphics (GUI) card (I use the GTX570) Adobe CS uses these cuda cores to accelerate many things and you will notice a huge jump in performance once you have one installed and you activate the GPU acceleration within Premiere.
Other things you can do to help with your speed challenges is cram as much RAM into your system as you can afford and get yourself a fast RAID hard drive array.Oh! and upgrade to Premieree CS6! CS5 is a major pain with some things (i/o cards and such) and 5.5 isn’t much better. Huge improvements in CS6
Good Luck!
Richard Cooper
FrostLine Productions, LLC
Anchorage, Alaska
http://www.frostlineproductions.com -
You may miss not having the 51-84mm range if these are the only two lenses in your kit but it is a good start. Also, while having an f1.8 piece of glass is very nice in certain situations, for interviews I find that if you choose to shoot wide open at 1.8 it is very distracting for the viewer. Usually this will put one eye in focus and one eye out.
I have found for interviews that an F4/5.6 at that focal range keeps the entire face in focus and still gives you a nice soft out of focus background. This being said, I have recently picked up the Canon 24-105mm f4 L series lens (which in only about a grand brand new) and find it is a nice “utility lens” for the money and typically my lens of choice for interviews unless we have the budget to rent better glass.
Sorry I have no experience with the Sony lenses.
Good Luck~
Richard Cooper
FrostLine Productions, LLC
Anchorage, Alaska
http://www.frostlineproductions.com -
Thanks for the info Daniel!
Richard Cooper
FrostLine Productions, LLC
Anchorage, Alaska
http://www.frostlineproductions.com -
I know the Tokina 11-16mm covers no problem so I would think it might but I cant say for sure.
Richard Cooper
FrostLine Productions, LLC
Anchorage, Alaska
http://www.frostlineproductions.com -
Yeah, I think you are right. I LOVE my FS700 don’t get me wrong, it has been a huge step up from the DSLR and I am happy with my investment. It paid for its self on the first project. But your points, coupled with a few nagging things (like no unique file names to the clips, the 8 bit 422 out the HD/SDI, the internal AVCHD 420 codec, the slight lens slop with the MetaBones EOS adapter) I think that when it is time to go 4K RAW in the very near future RED Epic is looking mighty good.
Richard Cooper
FrostLine Productions, LLC
Anchorage, Alaska
http://www.frostlineproductions.com -
I think that Dennis makes great points all around. Especially if you are making feature films.
Now, If you are a small shop or individual doing corporate/commercial stuff and the big screen is not your end game (which it sounds like in your post, please correct me if I am wrong) the FS700 will not only crush your DSLR to a b-cam status, but you will most likely never want to touch your DSLR again. At least, this is what happened to me. My 7D has not been used once since getting the FS700. I have hired a b-cam operator with a DSLR but the image/functionality of a DSLR does not compare to the FS700 in my eyes, period… For many reasons that I wont go into here.OK so for your questions.
The FS700 will make a dramatic jump in quality for your commercial clients but I would keep your HPX370 for your live events. The reason? The lenses. The FS700 is a “cinema” type camera. This means changing lenses a lot to get the perfect focal length for the shots you want/need. I usually have a set of 4 Canon zooms (And a camera assistant). 11-16mm 18-35mm, 24-70mm and a 70-200mm and for a live broadcast event this will just be a huge pain. I mean you could go with a Canon CN-E 30-300mm for the FS700 to get a ton of range in your zoom, but at nearly $45,000.00 this is out of a lot of peoples price range. Even then, you still need the wide angle and the Canon CN-E 14.5-60mm will run you just about $42,000… Just way too much glass and $$$$ for a live broadcast…. and focus would be a nightmare.So bottom line, I would keep the HPX370 for your live stuff (I can make you way more money than it is worth on the market today and Clients expect this look for this kind of thing anyway) and go with the FS700 and some Canon L series zooms as your “artistic” camera for the “controlled/semi-controlled” shoots. Clients will love the look!… and don’t even get me started on the 240fps. Wow.
Good Luck!
Richard Cooper
FrostLine Productions, LLC
Anchorage, Alaska
http://www.frostlineproductions.com -
Our FS700 shoots and records all formats directly to the SD cards without issue. Even 25P FX. We are primarily a NTSC shop (23.98/29.97) but just did a 25p (used 1080/25p FX) on a project for a company in the UK and it went off without a hitch.
… So I just read the manual @ P42 and while it does say that, I am confused when it then refers to P104 which talks about saving still images to external devices. I think this may be a misprint or a poorly worded phrase.
But I suppose you cold just pop a card into the cam and do a test. I cant imagine why your cam wouldn’t do something that mine will.
Hope this helps.
Richard Cooper
FrostLine Productions, LLC
Anchorage, Alaska
http://www.frostlineproductions.com -
if you are shooting in 23.98 make sure your monitor can accept this frame rate. Some cannot and that may be the reason.
Have you tried a different monitor connected to your FS700? Or change your frame rate to 29.97 and see if that does it?Also I need to have mine set to 24p/30p output for my Small HD monitor and not 24PsF/30PsF, check this as well.
The datavision may not accept progressive signals.(Or HD for that matter) It may need interlaced SD, although I don’t know. I Googled Datavision 7″ monitor and I could not find anything pertaining to a Professional HD monitor so this may be the problem, but I don’t know.Check you monitor specs and set the FS700 to match and see if this fixes your problem.
Hope this helps.
Richard Cooper
FrostLine Productions, LLC
Anchorage, Alaska
http://www.frostlineproductions.com -
I would try RedCineX Pro. you can download it here for free.
Very powerful and made for this(and MUCH more).Good Luck!
Richard Cooper
FrostLine Productions, LLC
Anchorage, Alaska
http://www.frostlineproductions.com