Ronald Anderson
Forum Replies Created
-
Hello Robbie,
Heard you had the beta software too.
As I have worked with Avid projects in the past, it’s always been a challenge to say the least, to get things ready for Apple Color. Very interested in your results using the scene detector, cutting up an HD Quicktime. Did you have to use any offsets for frame accurate results, or just play around with the sensitivities? Thanks for your response. -
Hello Denver,
Sorry for the delay. I use a Black Magic dual link to HDMI. The box outputs only 422, and while in the auto mode, does pass all HD formats to the plasma. For the relative low cost, it’s an acceptable way to monitor. The same holds true for the 50″plasma, although the picture set up controls do not have the same features as the 42 inch. Why Panasonic cannot offer the identical menus for all of their professional plasmas is a mystery lost in twanslation. Once set up properly these monitors really look terrific though, from all angles.Hope this helps.
-
I am using the Panasonic’s new 42″ Professional Plasma 20 series (model TH-42PF20U) with davinci 2K and Spirit Datacine. I am told it’s 10bit, but what I do know is that the picture quality is superb. I also have the BlackMagic DeckLink HD Extreme 3D, in the path, and using the auto mode it sees A & B Link 4444 to a 3Ghz output just fine. All other formats work well. I did notice some sort horizontal line “split mis-match” today while in 1080psf 23.98. Definitely a monitor issue, the media recorded just fine. Still researching this problem. Also have the 50″ plasma in a DI suite. Looks terrific!
-
I believe Black Magic is aware of this issue, and plan to address it soon. It’s a known problem…
-
That information is probably kept very confidential.
Your best bet is to connect through the Cow. -
The Resolve can only use up eight characters at the moment, and can work with CMX 3600 EDL’s, or conform with ALE files. Still some work to do from the new team being assembled at Black Magic, but Davinci will continue to have a strong presence in our industry, and most likely will have a “coming out party” at the next NAB in Vegas.
Apple Color can handle the entire file names from the red camera if you use FCP “Log & Transfer”, and round trip the project to Apple Color, the then back to FCP.
ciao.
-
Although Apple Color is “free” when you buy Final Cut for $1000, the true “cost of ownership”, after buying a good Mac computer, a JL Cooper color control panel or equivalent, a Maxx raid array, an FSI monitor, and other hardware, it’s really not free. But I hear what you are saying with regards to the market right now. It’s been a tough year for everyone. I have many clients who used to shoot film, who now are shooting with the Red camera, or even with Canon’s D5. “yikes!”
For higher end projects, film is still best, but even Arri has developed a new digital camera, to add to the mix of Genisis, and the Sony F35.
The flood of inexpensive digital acquisition, and smaller budgets is trickling down through post production, and color correction as well. I love my Davinci 2K, would love to own a Resolve, but also do own a screaming Apple Color system… -
I agree with you Joseph, now that a 4K debayer from a $30,000 Apple Color is indistinguishable from a $650,000 Resolve, or a $5oo,ooo Pablo, or a $300,000 Nucoda, or a $180,000 Lustre, or a $120,000 Scratch, nothing wrong with consumer in my book.
-
I agree, it would be terrific to open a Consumer Reports magazine and see all of the color systems lined up, with a “Best Buy” tag next to the top choice. But it’s a moving target, and not that easy to sort out the fiction from the facts. One of the reasons that makes forums like this so valuable.