Sam Zimman
Forum Replies Created
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Talked to AJA this morning and this is what they say:
In regards to PhotoShop Preview: There isn
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Sorry to come off with the false advertising thing. AJA has saved my ass many times over. (esp Rudy Van Kol). I was more trying to point out that this Photoshop thing is reallly kind of odd considering there track record. They removed the Broadcast limiter when it wasn’t up to snuff, but continue to talk about Photoshop support when Adobe is obviously screwing them. It just seems out of character is all. So far out of character it wouldn’t surprise me if there is more to the story.
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So AJA claims that the Kona card (a Mac only product) works with Photoshop, but Photoshop on the Mac only works with FW. Thus the Kona card cannot work with Photoshop, despite AJA’s advertising. Correct?
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AJA says that the Kona3 works with “Apple Final Cut Studio, Adobe After Effects, Photoshop and more.” It’s on there website and all of there documentation. It seems very odd to me that Macintosh Desktop is the way that they mean to support “Photoshop and more”.
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i think this is because the RS422 is a “serial port”. If you had a serial port PCI card installed Avid might see that as well.
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…and if your client is in the room with you peering over your shoulder while you wait for renders, go back in a tweak, import/exporting, blah blah.
It was always my understanding that Autodesk products were ment for supervised sessions that demand realtime. While AE and Shake are render based applications for when the client isn’t in the same room as you.
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i work on an Xraid with 8 250GB drives striped in a RAID5+0 and it’s fast enough to do 1080 10bit. i’ve only ever captured footage and layed off graphic element reels at that resolution, but um yeah it works. even for SD I would buy the extra drive and do a RAID5+0. there is a significant speed increase.
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Panasonic’s D5 deck does make tapes in 59.94 DF, however FCP will not let you make a timeline in 59.94 DF. So what you have to do is a bunch of crappy math and figure out the offset. To make your video elements land on the right DF timecode on the tape you have to place them at a different timecode in the timeline. Did that make sense?
It’s a real pain in the butt if you are doing something like a graphic element reel with 50 elements that all need to start on the minute. Or say if you are laying down a bunch of tagged versions of 30 sec spots. It’s not really that bad if you are doing a show. Just calculate what the offset end timecode should be and put a marker in your timeline. Then you just have to always think of that marker as being the end.
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I talked to AJA about tri-level sync and they said that they would love to make one, but they only have so many engineers that can be working on so many projects at once. So, it’s not a willingness issue, it’s a resources issue.
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I think the price difference is only $400. Right?
Also, please correct me if I’m wrong, but to edit dual-link HD you would need two fully populated xraids (each side striped RAID5 and then all 4 of them striped RAID0 together) and two fiber-channel cards (thus splitting the signal over 4 fiberchannel cables). And the only tape formats that support dual-link HD are HDCAM SR and D6 Voodoo.
You can still always do a software upconvert in the FCP timeline or with Compressor.