[Tom Matthies]

To install the codecs it’s a metter of unzipping the codec package and simply dragging the various Avid codec components into the Library>Quicktime folder. They are in the Quicktime folder on the new machine. Since it was a new machine and a new OS I downloaded a new set of codecs from Avid’s website, unzipped them and placed them in the Quicktime folder. The Meridien codec doesn’t seem to work. I even restarted the machine just in case. If I play a Merdien file in Quicktime, I get the usual white screen you’d expect if the codec was missing. I them tried copying the codecs from the old machine just in case something was different. I know that they work on the old system. When I play a Merdien file after copying the old codecs…same result.
Is it possible that the Merdien codec isn’t compatible with Leopard perhaps? Or this version of Quicktime? Something else going on, yes?
It’s not a big deal either way. Just a matter on convenience when editing older projects. I can always convert the files in the old G5 when they come up, but space is tight in my edit room (who’s isn’t?) and I’d like to take the G5 off line eventually.
Tom

[Tom Matthies]

If you export the project from newer the system as an XML file you should be able to bring it into the older system.
The key operative word is “should”.
It should work.
Tom

[Tom Matthies]

I just did this the other night on my new Mac Pro. It took a couple of hours and around 4-5 rounds to get all of the upgrades installed. Don’t forget to repair permissions also.
Tom

[Tom Matthies]

I tend to agree with this one.
I regularly work on both Avids and FCp systems and I’ll take FCP anytime.
I can’t disagree (because I don’t know the numbers here) with the statement that most feature films and TV programs are still being cut on Avid systems, but to make a blanket statement that this is the best or the only path for an up and coming editor to take if he/she wants a “professional” editing job is just not valid. Editing feature films might constitute 1% of those editing professionally. How about the other 99% of us that make our livings at editing every day? And, in watching TV shows on cable/satellite these days…I’d venture a guess that there is a much higher percentage of these shows being cut on non-Avid systems than ever before. I can’t watch satellite for a couple of hours and not see something that was cut on a FCP system. There are tell tail looks to a system that can reveal what was used to cut a show.
I agree that giving such a deep educational discount is a good plan. Get the young ones hooked on and used to Avids and they will continue that allegiance into their professional lives. It’s a very good strategy for Avid to take.
I always felt that Final Cut, despite it’s shortcomings (and make no mistake it does have them) gives a good value and a lot bang for the buck. I’d guess that many thousands of editors would agree on this point. Is it perfect? Nope. Does it do what I need it to do? Yep.
Use the right tools for the job you need to do. Simple.
Tom

PS: A couple of posts below on a similar thread, Michael Alberts refers to his MC-9000’s. Avid’s are still being bought out there these days. I just bought a fully equipped MC-9000, complete with CPU, RAID, monitors and all of the I/O hardware-complete and working…for $1100. I’ll use it for smaller projects or for spare parts for the two Symphonys We still run. My 2¢ worth. Back to making a living with my Final Cut system! 🙂
The former owner bought a Final Cut system to replace it.

[Tom Matthies]

[Bob Zelin] “a production van is not cheap. And no one works with composite video anymore – I don’t know who your client base is.”

I’m going to step in here for a moment and say that I disagree with your statement here, Bob. I think that the usefulness of Don’s future production van depends entirely in just what it is that he intends to use it for. While composite video is being used less and less these days, it still has it’s uses. A production truck retrofitted with all the new digital bells and whistles might be a technical marvel to look at but may be entirely out of the range of a limited budget. A basic setup as described above could easily be used for producing smaller, simple events. Does a basic sales meeting or video conference need HD SDI? Probably not. Would a small cable TV production need to be produced in HD? Nope, probably not. Most cable providers probably couldn’t even handle an HD signal from a remote location.
I think that the usefulness and technological level required in Don’s truck depends on just what he intends to use it for. If it is to be used in a small market for fairly modest shows, using “vintage” but proven technology might be just fine. You can set up a pretty nice little analog truck these days just by shopping wisely on eBay. Lots of stuff there with lots of life still in it. Not every situation requires a state of the art setup.
We have largely phased out composite here, but it still has it’s use every now and then. Sometimes a composite signal is all that is available. Note the LOW budget producer that doesn’t know his aspect ratio from his elbow that will still bring in a VHS tape for an edit and then not understand why you are giving him the Stink-Eye in the edit room. Unfortunately, for some people out there, composite video is “just fine”.
Yea, I have three Grass 200’s in storage yet. How many channels of ADO would you like to haul away? Beta SP camcorders? I have four of ’em sitting on a shelf in my shop. And as for my old Grass 110 switcher? Actually I loaned the CPU circuit board to the local Time Warner Public access channel when their OWN GVG-110 died. They are still using it to this day. They are perfectly fine with using it for their remote productions.
So yes, Virginia, composite video is still alive and well (kinda) and going strong in many smaller markets for many situations.
While a nice shiny digital truck would be nice to have it might just be out of the $$$ range of many people.
If the market will support it, build the darn thing and be proud of it! Just make sure that you have the work to support it.

BTW. Dump the JVC switcher and stick with a used Grass Valley. It will serve you better in the long run. Try to find a Model 110 is possible and make sure that it has the optional sync generator card installed. That way you can use a simple black burst signal to synchronize it. Define your market, take a good look at whether you truck can fill a niche and, if so, go for it!
Tom

[Tom Matthies]

While I run a couple of Ciprico RAIDS here at work, at home I’m using the Hitachi 1Tb drives in striped pairs with very good results. I run four of the drives in Firmtek enclosures controlled by a f-port SATA card. This weekend I will be changing over to my new MacPro machine. Two of the drives will get mounted internally along with another 1Tb “utility” drive in the fourth drive spot. The Firmteks will still be used externally driven by a new eSATA control card. This will result in about 6Tb of drive space available for a pretty modest outlay of cash. I don’t do uncompressed HD at home, (usually just DV50 & a little DVCPro HD) so the SATA’s are plenty fast enough.
I still have a pile of unused Avid 36Gb drives on the shelf that EACH probably cost just about as much as the whole pile ‘o SATAs I have at home.
And it will only be getting better!
Tom

[Tom Matthies]

I get that message at times when capturing from our DSR-1500. I do have the VTR polling plug installed BTW. I finally isolated the problem to the deck being set EE to the SDI input with no digital input connected. If I watch the deck’s output, it will “un-mute” the SDI input once in a while and will display digital “snow”. For whatever reason under these conditions, it will throw the error message during capture. It won’t do it all of the time, but will generate the error message every now and then. All I needed to do to fix the situation is to switch on the decks internal signal generator rather than leave the deck set to the SDI input with no input connected. If I do this, I won’t get the error while capturing. Try to take your deck out of the EE mode and if possible have a stable video input signal going to it at all times. If your deck “un-mutes” while capturing with your Kona connected to the input and the output at the same time, a feedback loop will occur momentarily and could cause the VTR’s servos to unlock for an instant and generate an error message back to the FCP computer.
Also, go give your VAR a good kick in the pants for their lack of support. My 2¢ worth.
Tom

[Tom Matthies]

I would deliver a quart of Scotch to your client exactly one hour before you deliver your video.
Tom

[Tom Matthies]

I had a bad 6-pin cable take down my entire system last year. The first thing it did is take out the drive on my Firestore. After that when testing it with an different drive, it took out the Firewire port and then cascaded down the line and took out my logic board. I had to have the logic board replaced along with the small USB/Firewire board on the front panel of my G5. A also had to get the control board on the Firestore disk replaced. All in all, it cost almost $1000 to get everything back up and running. Collect all of the Firewire cables and replace them. It might not be the actual problem, but it’s a cheap place to start and at least it won’t cause any more damage.
Tom

[Tom Matthies]

Right. I’ve gotten it this far. This will create an m2t file type. I’m looking for a way to then use the m2t and convert it to a .mpg file. I remember some months ago there was a similar thread that then went to add a post explaining what needed to be done to convert the transport stream into a .mpg. I believe it involved dragging it through Streamclip. I just don’t remember what the step was to do the conversion.
All this just to appease the cable guys. Sheesh…
Tom