Russell Lasson
Forum Replies Created
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You’ll have a guarantee either way. I buy lots of drives from OWC and I like the company. If it were me, I’d still buy from Crucial, but that might be because I’ve never had a problem with it and that price has always been reasonable. When you’re buying 8GB of RAM, $120 doesn’t sound like that big of a price difference.
I’m not sure you have a bad option between the two.
-Russ
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If you delete or change the name of this file, FCP should ask you for a new license:
Library/Application Support/ProApps/Final Cut Studio System ID
That’s the easy way.
-Russ
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[massimiliano] “- Can I use the JVC deck as Final Cut video output to connect a broadcast monitor, instead of buying a kona card? “
If you’re going to use Color, the answer is no. It currently doesn’t support firewire out.
[massimiliano] “- is Apple Color the only option? “
There are some plug ins for FCP you could use, like Colorista. You could also try After Effects or Shake. I use Color and love it.
[massimiliano] “- what kind of video format do you suggest for color correction? Right now the movie is on the Final Cut TImeline as HDV 720p24, but I was considering to export the work in a single file. “
If you’re going to use Color, then I’d suggest leaving it as is, but rendering out to ProRes HQ.
You’re really going to want a calibrated monitor, otherwise, you’re just guessing on what it actually looks like.
-Russ
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We have both an Mac Pro with the ATI X1900 XT and a PPC 2.5GHz with the ATI X800 XT. In Color, the ATI X1900 XT rocks compared to the AGP X800 XT.
If I were you, I’d see if you could get a low end Mac Pro with the X1900 XT. If you’re serious about using Color, it will be well worth your time.
-Russ
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If everything is on the same timeline, then just select the range you want with in and out points and then send it to compressor. Don’t submit the batch yet. Now select the next play range and export it to compressor again. Each compressor item will keep the play range that you selected.
You might also want to put markers at the points where you set the in and out points just in case you need to export it again, it will make it easier to find the sections that you want.
-Russ
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[JeremyG] “PS Bob, let me ask you this. If you were deciding to go WITHOUT the extenders and keep the computers in the suites, all you have to do is string more cables to the machine room, right? Pros and cons? “
I know it’s a specific question for Bob, but here’s my experience.
We have four systems connected by a SAN. All of the computers are located in one room with extenders going to the editing rooms. It’s worked really well for us because we can change any computer to be in any room. I also connected two computers into one room using dual monitors (1 computer per monitor) so I can keep an eye on a compression job, export, etc. I just have a little usb switch so I can switch the keyboard between either computer.
This has worked really well for us because each one of our computers has different capture cards in them.
-Russ
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Thanks for the correction. I’ve never heard of being able to do that.
-Russ
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[Tom Runquist] “The Cinema Tools manual seems to indicate that the reverse telecine process results in 23.98fps clips, but when I view them in Final Cut, it says they’re 24fps and it wants to put them into 24-frame sequences”
In Cinema Tools, when removing the pulldown, you have the option of changing the files to 24fps or 23.98fps. If you ended up with files that are 24fps, you could just use the Cinema Tools conform feature to conform them to 23.98.
[Tom Runquist] “if the clips were 23.98, Final Cut should recognize them as such, correct?”
Correct.
If you’re considering a film out, you definitely want to remove the pulldown. Also of note, if you’re planning to go back to film, consult with the company that will be doing the film out to see if there is anything that they would suggest with the process.
As you’ve noted, Panasonic uses 24P, 24PA and 24PN to mean completely different things.
-Russ
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[kimmiemate] “Has anyone here downconverted through firewire from a aj-hd 1400 to a Sony DSR-40? I can’t seem to make it work and am wondering if it’s even possible. What other DVCAM decks have people been using to make downconverted dubs via firewire? “
The Panasonic decks don’t support downconverting over firewire. Firewire is like a data dump. It just exports the data on the tape in the native codec.
-Russ
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We purchased a pair of the fibre DVI cables from Gefen. Both cables stopped working shortly after the warranty expired. We’ve used some other Gefen products and have had great success with them. So my experience has been both up and down.
In the coming months we’ll be expanding and we’re definitely going to be getting the 5500HD for those rooms. I really like the fact that you can customize the length and if a cable goes out, it’s easier to replace.
-Russ