[Tom Bridges]

Hi,

Just in case anyone’s following this thread, and wants a definitive answer: I spoke to AJA, who have confirmed that the KiPro doesn’t record RGB over HDMI – for the time being at least. Which is a shame: it would have been a nice solution for what I have in mind.

Thanks,

Tom

[Tom Bridges]

Hi Gary,

Thanks for replying: very much appreciated. Are you sure that doesn’t apply to RGB over SDI? I have a dim memory of reading somewhere that the KiPro doesn’t in fact support RGB over HDMI, but I can’t remember where it was – and I’m trying to confirm either way!

Many thanks for your help,

Tom

[Tom Bridges]

And if you’ve got one left, ping me an email at tom.bridges at mac.com

Thanks!

Tom

[Tom Bridges]

Thanks for that. I’ll check it out …

[Tom Bridges]

[Marcus van Bavel] “and is broadcast quality regardless of what computer you’re running it on.”

When you say broadcast quality, what are you comparing it to? Does it look as good as an Alchemist? Compressor also uses motion analysis, of course, but we find it can often produce artefacts. That’s why we’ll send broadcast standards conversions out-of-house. Are you saying that we wouldn’t need to do that with your product?

Thanks,

Tom

[Tom Bridges]

[walter biscardi] “eCinema has a $24,000 LCD display that is supposed to be a “true CRT replacement.” It was not in the booth when I went by, but Shane Ross did see it.”

I was looking out for this specifically, but sadly it wasn’t there on the Monday or Tuesday. I’d be interested to hear any feedback. Also on the LCD front, I was hugely impressed by Sony’s new BVM-L230, and it’s the first I’ve seen that properly measures up to the previous generation Grade Ones. They had them mounted side-by-side, and it was very, very difficult to tell the difference. To my eyes at least! The off-axis viewing is particularly good. It ain’t cheap, but if you want the best …

Best wishes,

Tom

[Tom Bridges]

The best way to legalise your video signals is to use dedicated hardware. We use Eyeheight’s LegalEyes MultiDef legaliser, which works very well for us.

Best,

Tom

[Tom Bridges]

Thanks for confirming my suspicions! Looks like I’ll have to do it by hand …

t

[Tom Bridges]

[Ramona Howard] “between say 50-100 artists”

I can absolutely see the requirement for this with these kinds of numbers, certainly with uncompressed video. Our XSan is on a different scale altogether.

With our Atto dual-fibres, though, we can implement a similar arrangement: suites can be on the SAN and direct attached simultaneously. This allows for the best of both worlds. Currently we’re just using this arrangement to pull media off the SAN onto nearline storage, but it could just as easily be used to guarantee bandwidth for layback/digitising. Is this the same kind of idea that you’re proposing?

Interesting dialogue, thank you!

Best,

Tom

[Tom Bridges]

[Ramona Howard] “The point, shared storage is nice but dedicated I/O is a must (at least if you don’t want the headaches).”

What exactly do you mean by this? We’re running a 10-seat XSan on a 4Gb fibre backbone, using ADTX storage. Digitising and laybacks work just fine for us: from 4:4:4 HD to DV.

The real value of shared storage, for us, is the flexibility. In a post house environment, we can shuttle projects between edit, grade, audio, screening room etc. with a simple logout and login. It’s very, very easy. Collaboration is another huge advantage: with shared storage the VFX artist can be compositing the shots whilst the editors drop them into the timeline as soon as they’re done.

A fully-loaded XSan is not cheap and, despite what people would have you believe, requires a fair bit of administration. It certainly does in a post environment, anyway, with new clients every day. But it’s extremely powerful software.

Good luck!

Tom