Sean Oneil
Forum Replies Created
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[gary adcock] “there are a number of solutions that offer raid 3 or raid 5 less than $10K.
None that I know of are Sata but there are a number of fibre alternatives that do offer this level of protection.”I use Highpoint Technologies SATA cards with RAID 5 capability. It works great in all our rooms. I highly recommend it to anyone. You can get 4TB RAID 5 superfast 400MB/s array for less than $2k. And it’s easy to set up. It uses a utility that runs in Safari or Firefox.
No disrespect to CallDigit or those who use them, but with Highpoint cards you have better features like RAID 5 and you save a ton of money. Just buy your own disks and enclosures. I use Firmtek enclosures but there are also many others. A company called Norco is selling rackmount RAID enclosures that are very, very reasonable in price.
Granted, having the whole package come from one vendor has support advantages. But to me its not enough to justify the price, let alone the lack of RAID 5. And you can get great support from Highpoint. Just make sure you buy disks that they have tested and certified.
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[Will Salley] “I tried a different computer – just switched out the HD – same results.”
By using your original system disk, you can’t eliminate the OS and other software as the problem. Take your orignal computer out of the equation 100%. Just copy the media to another FCP machine. If the problem still occurs then the media is probably corrupted. Bad RAM, overheating, or a bad HD could be causing this during the capture process.
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If I had to guess I’d say it’s bad RAM or overheating. Take it to an Apple store and ask them to try and recreate it, and the to try again with different RAM.
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You should tell this guy:
https://imdb.com/name/nm0519043/Wow, that’s an awful story. I’m truly sorry. You’ve done pretty much everything you can. Before anything else, try and re-create the problem on a different Mac if possible using the same footage. And make sure this happens with all footage. The media could be corrupted.
I’ve been working with computers for a long time. And when weird unexplained stuff like this happens, it’s usually 1 of 3 things:
1) It’s overheating. Probably not the case, but you never know. Something could be loose inside that water-cooling contraption.
2) Bad RAM. The hardware test cannot catch everything. Try different RAM chips if you can and you’ll know for sure if that’s the problem or not.
3) The OS is hosed. Re-install OSX from scratch on a new system disk. Just swap out your system disk (keep it in case this isn’t the problem). Do a clean install of OSX, updates, and FCS. Pain in the ass, but it sounds like you’ve spent a lot of time already.
Don’t waste time on things like removing your Wacom and things like that. None of that will affect it and if it did, you have bigger problems. Don’t buy into your own paranoia. Trust me I know the feeling. You’re not doing anything wrong. It’s not working like it’s supposed to and that’s all there is to it.
Last resort, pay for a day of Applecare or take it to the Genius Bar.
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[gary adcock] “The D6 comment made me smile however- were any of of those decks produced that ever made it to an edit bay?”
Hell I don’t even know what they look like. I’ve just heard they were the only uncompressed HD tape.
I don’t think anyone will be using tapes for very much longer. Its definitely going down that path. Good riddance if you ask me.
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[gary adcock] “it’s not pseudo anything.
Cx2 does not bother to mention that ALL HD tapes do this very same thing.
Sony will not release their native tape compression maybe they do not want everyone to find out that it’s actually 1440×1080 at 3:1:1 on the camera tapes.”I think they want everyone to buy their Xpri editing system which does native editing of HDCam.
Cx2’s use of psudo meant that it’s a similar concept to anamorphic but not technicicaly the same thing or same application as say, anamorphic 16:9 NTSC. No need to get defensive. And yes, as already mentioned by Borjis not ALL HD tapes do the same thing. HDCam SR is the full 1920×1080. So is D5 and D6 (albeit no cameras for those ginourmous tapes).
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“Stib’s Better Deinterlacer” works great with this.
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I have FCP 5.1.2. It has multiple 1080 HDV setups. Make sure you have the “Show All” box checked.
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You know it comes as a PDF file you can access from the help menu and print. Not as nice as having the book I know, but all the same.
Anyway, the manual isn’t really different than 5.0. The only difference is the “Late Breaking News” section which describes what’s changed with the updates.
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[Shane Ross] “Wrong. Not if you are going to output back to SD tape. What would be the point? Tape runs at 29.97, so why would you capture and edit at 23.98, only to go back to 29.97? What is the possible benefit?”
Editing at 23.98 and THEN going back to 29.97 adds new pulldown with clean, continuous cadence. What’s the benefit you ask? Cutting in a 29.97 timeline will destroy the cadence at every single edit point unless all edits are made at the A frame. Depending on the speed and frequency of the edits, the results can be pretty bad on most consumer TV sets. Unlike our CRT broadcast monitors (which bad cadence is not detectable on), all digital displays (LCD, plasma, etc.) have to deinterlace everything first.
Some have expensive scalers to cover up our mistakes. There is a specific feature marketed as “Bad Edit Detection” seen in high-end consumer video processors like the DCDI. Google it. Those “bad edits” are the result of the editor’s workflow you just described. Yes, it is completely common and standard practice to still do this. I guess many people figure to leave it alone since everything will be HD soon enough. Too complicated to fix. But I have dealt with one QC person who checks for clean cadence and also makes sure the A frame is on 00.
[Shane Ross] “If you are going to shoot on DVCAM tape, and end up with a DVCAM master or other SD tape master (digibeta), then shoot and edit 29.97. Shoot 24P or 30P if you want the film look. I fail to see any benefit to shooting and editing 24PA for outputting to tape.”
Completely different topic. But on this I’m sorry you’re completely wrong. Even if you edit, master, and view the footage at 29.97, shooting it at 24fps still has a completely different look to it vs. shooting at 30fps. Maybe I’m just misunderstanding you, because I cannot fathom how you could disagree with that. Watch a film on TBS on a little 13″ TV. Then switch to a rerun of Married With Children. The difference is night and day. And I’m not talking about the color or the grain. I’m talking about the motion. It’s the difference between watching a movie, and watching the “Behind the Scenes” of the movie.
Same thing with HD even. Turn on HBO HD and watch a movie for a minute. Then switch to Discovery HD (which likely has a show on shot at 1080i 30fps on a 1st gen HDcam). Even though both are brodacast at 1080i60, one was shot at 24 and the other at 30. Completely different look.
Why do you think so many video cameras allow you to shoot in 24fps? Its not just for people going out to film or HD. It’s because of the look, which is blatently appearent even on a crappy old NTSC TV set.