Sean Lander
Forum Replies Created
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Also be aware that capturing BetacamSP through a J3 deck will give significant quality loss in the image.
To capture 4 channels of audio you will need a dedicated SP machine such as a BVW-75. -
Well the company I was with stayed with the KonaSDs until only recently. (Upgraded to Kona LHs) The Blackmagic Drivers do in fact work fine with the original Kona SD. Though you must use the latest drivers. I think it was versions. 5.18-5.24 that had problems with the Kona. Or course this support probably won’t last forever and with the prices of these cards now less than half of what you probably paid for the Kona SD v1 it might be time to consider an upgrade.
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You can try using Compressor to do this. I’ve found it does a pretty good job of up-ressing.
Obviously for a truly professional result you will want to outsource it. I guess it all depends on your budget. -
unfortunately your not doing anything wrong. M$ decided that they would take out that functionality from their later drivers.
Because I can’t live without this feature either. (Both SoundTrack and LiveType do it by default!) I still have the 3.10 drivers installed.
Or if you want it you can buy the shareware program USB Overdrive. It’s not much from recollection. https://www.senlick.com/html/01.00.html -
Thanks. Only problem is, is that the text has been rendered into a movie so I need to Bend it Like Beckham!
I’ve downloaded the trial of AE 7 and it looks like it can do what I need. Pity there seems to be nothing that either FCP or Motion can do. -
Yes. So you can do it in After Effects? I haven’t used it for a little while.
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Well I just finished a series for the Discovery Channel that was graded and on-lined on a 20″ sitting right next to the cinema displays.
No problems what so ever, and the larger image is a benefit. You’ll find a 14 or 15 is significantly cheaper, but if you can afford it go for
a 17″ at least, remembering that if your like us here in Oz almost everything nowadays is edited in 16:9 so you are effectively reducing the
image size on the CRT by a fair percentage.My 2 cents.
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[Tom Ackroyd] “So field reversals should be picked up so long as viewing is done on a (ie any flavour of) TV, not a computer display.”
Well I’ll accept what your saying but my experience is that I have never seen it on an LCD.
The production facilities I work at ALL check their final programs on CRTs for this very reason.
Some have both types of monitors in their suites, generally Plasma is the client monitor and the CRT sits
next to the editor. OR they have one suite that has a proper Broadcast CRT and they check every
story on it because all suites are linked with X-San.The other issue here is cost. If you want a BROADCAST quality LCD or Plasma it is going to cost you
quite a lot more than a Broadcast CRT. In Australia, I think the penetration of LCD and Plasma is still
under 20%. So I would wait. As production ramps up the LCD Plasmas will get significantly cheaper
in the next year or so.my 2 cents
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If you ever deliver product that will be viewed on a CRT then I think you must have a CRT as a production monitor.
Too many times I’ve seen field reversals go to air because the editor didn’t have an interlaced production monitor.
This happens especially when your mixing DV footage (Lower) WIth Uncompressed (Upper) in PAL.Plus CRTs just look so much better.
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Thanks a lot for the reply. That sounds exactly like what I’m after. Funny I would l have thought there would be a market for something like this.
I guess most people monitor off their deck?