[Rich Rumppe]

Thanks everyone…. I guess that the only real way to know what I’m getting on output either to a DVD or as an online encoded file. I’ll have to test those outputs to know what I’m getting and then disregard the computer monitors.

Thanks… unless someone else has any other solutions, I’ll try that.

Rich

[Rich Rumppe]

I guess it doesnt make much difference what the Log and capture window looks like as long as the timeline looks like on the output. I just thought it was odd that the pictures looked so different, both displayed on the same Apple monitor.

Are there any settings that I can make within the FCP program instead of changing the monitor set up on the computer? The wave forms look pretty good… I just cant get the canvas window to look like the HD monitor that displays the output of my playback deck.

Thanks for your help

Rich

[Rich Rumppe]

Its not that the monitor is not accurate….both the log and capture window and the canvas window could both be blue….. thats not the problem. The log and capture window and the image off the timeline are not alike on the same monitor at the same time. One (the log and capture window) has no contrast and washed out and the other one ( the canvas window) has good contrast but looks dark. They are both being displayed at the same time on the same monitor.

I don’t think that they should be different and if there is something I can do to correct this problem, I would appreciate it.

[Rich Rumppe]

Thanks for you response. I will look forward to hearing if you have any thoughts after your tests. Its good to know at this point the problems have been primarily with the PPC processor (now that I’m on an Intel).

From what I’ve seen on the forums…..If you can figure this out, you will have found the holy grail….a lot of people love the camera but hate the workflow. By the way the back of a number of magazines promote the workflow of the JVC camera and Final Cut……If you look at the fine print, they reference an external hard drive as the capture source, not tape.

Rich

[Rich Rumppe]

If you have a direct phone number without going thru transfer after transfer after transfer. I can try to call them.

[Rich Rumppe]

It sounds like this is shot 24p but before its recorded to tape it’s converted to the same HDV we know today. I would also assume that the data recorded to the new DR60 would be the same thing that Focus enhancements uses. I think they are quicktime files. These should be able to be imported directly into final cut as downloaded quicktime files.

I’m still curious about the workflo to final cut before I commit to buy this 24P camera if I’m not really getting 24p.

Rich

[Rich Rumppe]

Sorry folks I figured it out….You have to have an index page at the top so it has a link to go to.

Thanks

[Rich Rumppe]

It seems to have worked
Thank You