Tim Kolb
Forum Replies Created
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Hi Mark,
I’ve never run Edius on the same machine as my Xena card… I have no idea how that would work.
I’ve used Edius on two lapstation notebooks (I am currently in between portable workstation replacement platforms as I apparently work them into an early grave)…it’s always been relatively fast on a non-dedicated hardware system.
TimK,
Director,
Kolb Productions,Creative Cow Host,
Author/Trainer
http://www.focalpress.com
http://www.classondemand.net -
You could crush the blacks and roll back the color saturation a bit and you should start too see that “Rockford Files” thing…maybe add some grain.
You can do this without any plugins…but the 55mm plugins set from Digital Film Tools would have some nice starting points.
TimK,
Director,
Kolb Productions,Creative Cow Host,
Author/Trainer
http://www.focalpress.com
http://www.classondemand.net -
[tony salgado] “Equipment without creative talent buys you nothing in the end.”
If you remember nothing else from this thread…remember this.
TimK,
Director,
Kolb Productions,Creative Cow Host,
Author/Trainer
http://www.focalpress.com
http://www.classondemand.net -
It’s unfortunate, but frankly unavoidable I think…
In the mid-90’s when you could count the professional NLE systems in place on your fingers in any but the most metro states in the US, companies didn’t have many systems to support and the configurations weren’t very diverse. There were definite differences between my peers who paid 80-100,000 dollars for their Avid systems at that time and my Media 100s which were “cheap” at about 40-50,000 dollars per chair and much more openly configurable…however when an Avid owner called for support, Avid knew every component in the system as they had very restrictive configurations, whereas when I needed support, Media 100 routinely blamed Apple, Apple blamed my storage vendor and the storage vendor could never figure out why they were getting calls on issues that had nothing to do with harddrives…
Many Avid owners felt like they were held prisoner, but really the restrictions on configurations led Avid techs to understand all components in the system.
Now, everyone expects an entire NLE system to cost less than $10K and the system configurations can be made more custom than ever before with more choices of components than one can realistically keep track of…
Well, tech support employees, many of whom are strictly hires who are expected to use a series of checklists to diagnose problems, can’t keep track of it all either. It makes all of this maddening for many customers, but for many of us who have been buying our own gear for a decade or two can tell you, post production gear is damn near disposable compared to ten years ago. Support costs money and most of us are paying relatively little money for our tools these days.
Profit margins are razor thin for manufacturers…an Avid probably had a profit margin far above 50% on those mid-90s systems, but that money could be invested in more service for the life of the product…whereas Adobe might realize a profit margin in the 50% range as well…the entire Production Studio suite costs less than 2,000.00 and they need those profits to operate development teams for more than a half-dozen applications, all with capabilities that make the 100K Avids and the 50K Media 100s of the 90s look pathetically limited in scope and functionality.
Add to that the fact that the software is so affordable that many different user sophistication levels are now customers of the same product, and with the explosion in volume of NLE customers comes an explosion in the percentage of customers that have little or no technical expertise, making increased technical support necessary, often at a very basic level of sophistication. I wonder what percentage of Adobe tech support cases are solved with one of the following responses:
1. Defrag your harddrive
2. Your harddrive is full
3. Use the proper project settings
4. Upgrade your computer system to the minimum config PRINTED ON THE BOX…
5. Remove games and unnecessary software from your system to resolve a conflict
6. Proper configuration of hardware (video cards, camcorders, etc)I don’t know what the answer is, but as our tools continue to drop to an almost absurdly low cost, support is not going to become more expert, driven both by the demands of the majority of customers and the strains on profitability.
Maybe I could open a phone bank in the basement… 🙂
TimK,
Director,
Kolb Productions,Creative Cow Host,
Author/Trainer
http://www.focalpress.com
http://www.classondemand.net -
Primetme television has been historically shot on film…only very recently did some primetime programming start to move to HD video.
The camcorders used would be units like the F900 Sony HDcam…$100,000 USD without a lense, which isn’t cheap either…I thought I saw somewhere that the Panasonic Varicam just reduced it’s price to $45,000 USD from 65,000 USD…but I could have that one wrong.
Video cameras that shot at 24fps, or any emulation thereof have only existed for about 5-6 years.
Film has a dynamic range that video still struggles to imitate, and since you are shooting positive with video as opposed to negative with film, the whites get the attention now whereas for film, the blacks were the key to intended exposure.
Bottom line…if it looks like film, it’s still very likely that it’s film…
TimK,
Director,
Kolb Productions,Creative Cow Host,
Author/Trainer
http://www.focalpress.com
http://www.classondemand.net -
DVC Pro is only enabled in QT in Macs. You’ll need someone with a recent copy of Final Cut to render it into a different QT compression for you.
TimK,
Director,
Kolb Productions,Creative Cow Host,
Author/Trainer
http://www.focalpress.com
http://www.classondemand.net -
The issue is either the card conflicts with some portion of the configuration, or the drivers for the board need to be reinstalled as they are corrupt (unlikely since that just happened I’m told) or there is just some strange bug in Matrox’s drivers that make it crash when a Matrox DV file is brought into a Matrox MPEG I-frame NTSC (720×486) timeline.
The problem is not very likley a conflict between Matrox and Adobe (that would have been unlikely to pass), but there is some reason why the Matrox project settings are crashing on this system and the Adobe project settings handle the same media without issue…the rest of the configuration needs to be looked at.
***I also question whether or not the dealer did indeed wipe it and start clean…or did they just simply take out everything but what they left on the system?
(strong feelings about this as I was the one on the phone chasing this one down…)
TimK,
Director,
Kolb Productions,Creative Cow Host,
Author/Trainer
http://www.focalpress.com
http://www.classondemand.net -
Is your video drive becoming full? I wonder if PPro is somehow noticing a drop in disk access speed and flagging the render for that…is the media drive also defragmented?
TimK,
Director,
Kolb Productions,Creative Cow Host,
Author/Trainer
http://www.focalpress.com
http://www.classondemand.net -
You put the titles on the master sequence or the nested sequence? Did the video say it needed to render before you placed the titles?
TimK,
Director,
Kolb Productions,Creative Cow Host,
Author/Trainer
http://www.focalpress.com
http://www.classondemand.net -
[Charlie King] “I never use the monitors for color or levels. I always use my scopes. I think with me it is many years of broadcast TV that is behind my reliance on scopes.”
No question that that is the best way, Charlie…but for many, the price of digital, HD-capable scopes is pretty high…
TimK,
Director,
Kolb Productions,Creative Cow Host,
Author/Trainer
http://www.focalpress.com
http://www.classondemand.net