Steve Covello
Forum Replies Created
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Hopefully, AJA will offer an exchange program like they did with the Kona HD buyers so that they could at least sell their current inventory then offer the new card when they have been tested thoroughly enough to release.
You have my sympathy, Bob, from your position as a VAR. But if I was one of your customers, I would hesitate to get involved with such a significantly new attribute like the PCIe to place such a weight on it. I would say that clients would be less impressed by ‘the latest gear’ compared to having to make excuses because it has bugs or unexpected limitations.
I would rather hear from you that the package you are selling me WILL work perfectly NOW, but that if I can wait another 6 months, a new system will have been out for a while and will have been shaken down enough to feel confident about it. IMO, people who chase the latest gear end up with the most frustration. I believe in letting the customer chose their own poison.
steve covello
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When you solve the issue, please post your solution. I have had a similar problem on one of my G5’s, though I believe it will be solved with a ground loop isolator.
thx
steve covello
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Bob –
Shame on you for your condescending remarks about ‘older’ editors. In my shop, there is only one thing that matters: talent.
I employ one of the most talented editors in NY who has worked with many ‘name brand’ directors including Robert Franks [most of whose work at MOMA was edited by her] and she BARELY knows how to do more than cuts and dissolves. She has tremendous concept skills, excellent working relationships with clients, conducts herself with the highest level of professionalism, and has been a creative inspiration for me even after having done this crap for 15 years. And she still only uses the default settings on the Avid.
She has clung to the Avid boat since I’ve known her, and only now is being gently persuaded to the FCP side because of supportive encouragement by myself and some of her directors.
It is true that her technical limitations require an extra person to do graphics or color correcting, but this has only recently been an expectation of editors beginning, IMO, around 1998. Nonetheless, as a business owner and producer, it is MY job to match up the assignment with the talent and resources to get the job done. The same creative directors that have worked with me on jobs which had involved editing, AfterEffects, Illustrator, Photoshop, Cleaner, DVD Studio Pro, sound mixing and color correction have also requested working with Laura Israel — the person to whom this Apologia is dedicated — knowing that she does none of those ancillary tasks.
The creative directors clearly understand that they have an idea whose realization is best created with Laura in some instances, and with myself on other occassions. I have a great respect for this, and for Laura’s talent.
I think you should too.
steve covello
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>>Is that a true AVID 7.1 or the “new” AVID Liquid 7.1? Liquid is going to version 7.0 and will be rebranded with the AVID name.
Copy reads “…Tolan supervises the offline editing process on Avid Media Composers v. 7.1 at her office in Pasadena, CA…”
I have a feeling you are right, and that it is likely a Liquid. But still…
steve
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Interesting how I just read in Millimeter [which has become about a millimeter thick these days] how the TV show “Rescue Me” with Denis Leary shoots HDCam, downconverts to DVCam, and is offlined on ***Avid 7.1***!!!!!
AVID 7.1!!!!!!
My point being that the emphasis on equipment/upgrades/feature-chasing is somewhat overblown for most practical purposes of editing. I have a Meridien that is, for all intents and purposes, obsolete, yet it still works perfectly OK and I can still cut spots, promos, whatever on the, even with multicam.
The lesson, I guess, is buy well-made equipment that serves your needs and then don’t worry about it until you have to. I have a Kona 2 running off a G5 dp and I suppose I could be a viable entity with this for at least 4 years.
steve covello
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Some interesting comments on both sides of the issue on macnn.com:
https://www.macnn.com/articles/05/09/01/market.video.ipods/
click on Comments link [duh]
steve covello
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Is the Control Panel set to Ref or Input Video? Your description was kinda ambiguous. If the U card does NOT have house Ref input going into it, then it it would act kind of like a 3/4′ playback deck or vhs [no house sync], so the K2 card reference would require Input Video as sync ref. This is my edjikated guess.
Also, call or email AJA — they’re damn good at following up.
steve covello
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I’ve been using a Keyspan USB/serial adapter for deck control for all my FCP and Avid setups [you’l have to change the deck control function in the Deck Control tab of A/V Settings] and have had no problems so far in 3 years. I intentionally bypassed the FW IO connection for precisely your problem, so maybe it’s worth the $60 to try it out. Also, I Edit to Tape from the Viewer rather than the canvas, which was a workaround for a variety of problems with FCP 4.0 whenit first came out. It’s an old habit now, though I still swear by it. See what happens…
steve covello
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Since you can output to film with equal easy with either a 24 or 23.98 master, there’s no point in inconveniencing yourself by working in 24 since it would mess up your NTSC screening process among other things. I suggest reverse telecine-ing your footage to 23.98 from the original material.
Steve
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Couple of missing pieces of information here:
Will you be releasing the final on film or video?
If it is film, then work in 23.98, not 24. Remember, even if film is shot at ‘pure’ 24, it is slowed down in telecine to 23.98 for the purpose of recording to 29.97 video. So if you work in pure 24, you may end up with some audio sync problems on really long takes. You can still film-out at 23.98, so you don’t gain anything by editing in 24. Also, what you are watching on your RGB monitor is progressive scan, but it won’t be on an NTSC monitor [there is no such thing as a SD video format at pure 24 fps]. You can only achieve progressive scan playback on a monitor that has the capability to display it, and a working format that is inherently progressive scan. As mastering formats go, only HD allows progressive scan.
If you are mastering to SD video at 29.97, don’t even bother to edit in 23.98. You gain nothing but some extra drive space. FCP will add pulldown to the NTSC monitor as it plays even if you are editing in 23.98, so the ‘look’ won’t be much different. The only advantage I know to editing AND mastering in 23.98 for a SD video release would be if you are ultimately going to output from FCP to compress for DVD. The advantage being that if you have a finite amount of space on a DVD for media, you can use a higher quality compression on a 23.98 project than you could if you were working in 29.97 because there are less frames, and DVD players automatically add pulldown on 23.98 footage when they output to a TV monitor. [in other words, if your film takes up the maximum space on the media space of the DVD at 29.97, you can use less space if it is 23.98. You could therefore use a better compression scheme to max it out again].
So to solve your monitor problem [short answer], edit in DV at 23.98. you might have to re-do your Cinema Tools footage to 23.98 to accommodate this — highly recommended. Goto http://www.cinematography.net for some excellent guidance on many subject related to this topic.
steve covello
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