[Tom Matthies]

You might want to try adding more RAM to the G4. FCP has been known to quit while running with such a small amount of RAM. Also, I seem to rememver that FCP 4.5 had some issues running under OS 10.3.9 on some machines. Not sure if that was ever resolved.
150 hours of footage is a sizable project.
Tom

[Tom Matthies]

Hmmm…
It’s my understanding that both compressor and DVD SP use the same encoding engine and that, setting for setting, the quality is the same using either program. Is this not true?
I’ve had very good results just using reference movies encoded right within DVD SP using two-pass VBR for longer projects. Plus it’s not locking me out of FCP while Compressor is running.
Any comments from the herd on this one?
Tom

[Tom Matthies]

Ditto the G-Raid
Tom

[Tom Matthies]

Quick Friday update:
Well gang, our old “Edit A” sadly is no more. It’s now been stripped down to the cement floor, all of the equipment removed and retired. I now have three Grass Valley 200-2 switchers in storage in our studio-two in good working shape and one as a doner. Just doesn’t seem right. The old linear room will get carved up into a Final Cut HD room and a smaller utility/logging/capture station. Everyone in the building stopped by at some time this week to pay their last respects. The Sony 9000 will live on as a tape logging station. A few of the consoles will be used in other locations. The rest is relagated to storage pergatory in the back of the studio. I think I will name the new FCP-HD room the “Phoenix” Suite. Just seems like a good idea, rising up from the ashes of the old suite.

Just for fun and good memories in our audio suite we took a small seldom used room off the main studio and reconstructed a simulated radio station control studio circa 1960 from old and donated radio gear. I have an old, 1956 Gates tube radio console in there that still works and still looks new. We’ve added numerous donated items over the last couple of years including an old floor standing ash tray-a true staple of the past. I’m still looking for an old gates or RCA turntable, but otherwise, it looks pretty much functional.
Maybe it’s time to build the simulated TV Control room display as well. Sounds like a good project for this next long Wisconsin Winter.
Stand-By…film at Eleven…
Tom

[Tom Matthies]

Will Do!
Tom

[Tom Matthies]

Jeez Walter.
I’m embarassed to say this. I actually HAVE this monitor sitting on my edit desk right now. I just don’t have any of the digital input cards for it.
And, you know, for some reason I thought this model number sounded familiar…
DOH!
Tom

[Tom Matthies]

Workflow is pretty easy as well. Capture the footage at DV25 resolution. Do the offline edit to everyone’s satisfaction including basic color grading. At this point I actually export the OMF files for audio sweetening on a ProTools rig. I use the captured DV25 audio for the sweetening session. The DV25 quality is generally fine for finishing. Don’t tell anyone-it is a bit of a shortcut I do save a bit if turnaround time! I then run the project thru the Media Manager to get it down to just the footage I actually need for the on-line editing. At this point, we normally would then take the Medial Managed project across town to a shop with HD capabilities for conforming. After comform & final color grading, the finished, sweetened audio track is sent over to be married to the final video track and then to master when all the little details are mopped up.
In another week or so, we will be able to do all of the finishing in house. I’m in the process of building a full HD FCP suite right now. At that point, we will have the project from start to finish right here. It’s a brave new world here in a small town in the upper midwest.

That’s about it. There are lots of small details involved, but this is the basic workfow I use.
Tom

[Tom Matthies]

I’m in the process of building a small HD suite right now. For client monitoring, I’ve decided to go with the Kona3 board in a Quad G5, an Aja HDP to convert the HD-SDI data stream from the Kona to DVI and then to a Dell 24″ wide screen LCD monitor for the client desk. The Dell arrived a few days ago. The Aja equipment was shipped yesterday. With a little luck I’ll let you know how it works in a few days.
I will be checking into the Sony PVM-14L5 however. It seems to be a popular choice here. 🙂
Tom

[Tom Matthies]

Actually, in re-reading your post, you can use the captured DV25 footage for off line editing, but you will then need to recapture your footage at on-line HD resolution to finish the project. You can’t just magically “upconvert” the DV25 footage within FCP back to HD quality.
Tom

[Tom Matthies]

Sure you can unless I’m reading this post wrong.
I’ve brought HD varicam footage into my system for off-line editing many times. I just take the downconverted SD SDI output from the Panny 1200a into FCP thru an Aja Io and capture at DV25 resolution. It works fine as does the RS-422 deck control. Pretty straightforward really.
Tom