[Tom Matthies]

I use a ShuttlePro II with the Jog wheel set to Zoom in/Zoom out on the timeline. Very fast.
Tom

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[Tom Matthies]

You mention upgrading from FCP5 to FCP7. What platform and OS are you using?

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[Tom Matthies]

All Boris plugs running OK here.Same setup.
Tom

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[Tom Matthies]

I use a ShuttlePro II for this. I remapped the ShuttlePro’s jog wheel to zoom in/zoom out. I also changed the keystroke for zoom in/out to follow the playhead and not the highlighted clip. Huge time saver. I use my track ball/mouse to select a position on my timeline and my ShuttlePro to quickly drill down on the time line for more resolution. I’m also a keyboard shortcut user big time. All three add up to really fast editing.
Tom

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[Tom Matthies]

Three channels of ADO and a concentrator. That’s all it took. Oh, and a lot of time…and machines…and money…and a large switcher.
The boxes were all the rage for a while there. I have to sheepishly admit that I just did a spinning box a few weeks ago using Boris Continuum for a client who-how do I say this tactfully-has been in the biz for a long time now but is kind of stuck in the 80’s yet.
You weren’t a real editor until you’s mastered the spinning cube.
Yea,It brought back some memories…bad ones at that.

Tom

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[Tom Matthies]

I wouldn’t say that AJA is abandoning Apple, but simply spreading it’s base out a little wider. If less editors are going with FCP or changing over to a different platform due to Apple’s lack of response in the Pro Apps division, who could blame AJA for covering their butts and expanding their market?

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[Tom Matthies]

Yes, Indeed…

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[Tom Matthies]

Update.
It would appear that the rendering problem is caused by rendering at 10 bit quality. The timeline is 720p 59.94 ProRes 422. The timeline is automatically set to 10 bit rendering when this preset is selected. If I go in and manually drop the quality down to 8-bit, it will then render correctly.

Bug??

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[Tom Matthies]

Even better than a common white balance would be to bring along a gray scale chart or better yet add a McBeth chart to the shoot. Roll off some of the chart at the beginning of a scene and record it on all of your cameras under the same lighting conditions. After wards, in grading you have the same reference on all cameras and make matching much easier. Match each camera to your “reference” camera and save the color correction settings for each camera. When editing, you can just grab the CC preset you saved and apply it to the appropriate camera in the time line. You could also put each different camera on it’s own track in your timeline and simply apply the same preset to all of the clips on that track for a very fast rough grade of each camera in the edited sequence. If you are doing color grading outside of the editing software, just collapse the timeline and export to the grading program.
Fast and pretty painless. Just take the time to shoot the charts to begin with and it will save you a lot time later.
Tom

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[Tom Matthies]

It was many moons ago, but I had a similar problem interfacing an older Telex system through Sony CCU’s. Although I don’t remember the details, (it was almost 15 years ago) I remember I solved the problem by using a couple of 600 ohm isolation transformers from Radio Shack at the CCU to electrically disconnect the looping problems at the input. I remember that it minimized the crosstalk from the digital CCU data to/from the camera head as well. We eventually replaced the 14-pin systems with CamPlex units using a modem to relay the CCU data down the co-ax lines to the camera heads.
Tom

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