Walter Biscardi
Forum Replies Created
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[Joey Korenman] “Hey all. We’re getting ready to chuck our old CineWave card and get a Kona 2. “
Congrats Joey! I chucked the ol’ CineWave last year pretty much right after NAB 2004. Trust me, the Kona 2 is definitely the right way to go.
Now as others have mentioned, you can’t output component and composite at the same time via the K-Box. What I would recommend is the Io LA box which is the Analog Only version of the Io. The beauty of it is that it’s an external box so if you have multiple editing stations, you can move the Io to whichever station needs the Analog I/O at that moment. I haven’t needed the LA yet because I own a Sony J3/902 Multiformat Beta Player which plays back all the flavors of Beta via SDI, so even my BetaSP gets digitized via SDI.
On the PVM monitor option, those are simply loop-through’s so you can’t input a component signal and then see that same signal via Composite. The monitor spits out the same signal that goes in.
Good luck on the purchase!
Walter Biscardi, Jr.
Creative Genius, Biscardi Creative Media
https://www.biscardicreative.comNow in Production, “The Rough Cut,” https://www.theroughcutmovie.com
“I reject your reality and substitute my own!” – Adam Savage, Mythbusters
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Bob, have you compared that Dell to the Sony MFM-HT75W? It has DVI, RGB, Component, Composite, and S-Video inputs. 720p and 1080i supported. I picked up one for $599 at Fry’s Electronics and I have to tell you, it’s stunning. Just curious if you’ve seen one of these and how it compares to the Dell.
Walter Biscardi, Jr.
Creative Genius, Biscardi Creative Media
https://www.biscardicreative.comNow in Production, “The Rough Cut,” https://www.theroughcutmovie.com
“I reject your reality and substitute my own!” – Adam Savage, Mythbusters
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[Marc Rolph] “can the 20″ monitors do HD editing? I was under the impression that the 23″ was needed to display HD video.”
You can edit HD with any monitor, even an old 17″ CRT monitor. If you’re talking about the external video display, then you want an HD card to send out the signal to your external monitor.
The editing part internal to the computer doesn’t matter what type of monitor you use.
I’ll second Oliver on the sweetness of the 20″ as I just added one to our second suite, but I still love the real estate of the 23″, especially with After Effects work. I still run the 23″ paired with the 17″ in my primary HD suite because it’s just a good setup for me.
And I’ll second everyone on placing the monitors down, not up. Even looking straight ahead can cause some neck pain in the back of the neck. In a previous company, we designed our desks with a 3″ drop (back in the CRT days) so the editor actually edited looking slightly downwards, in pretty much a natural sitting position, when sitting at a keyboard. Kind of like how you sit and look at a laptop, the monitor is below the level of your eyes so you look down at it. Really made long edit sessions and all nighters less of a pain. With the Apple Flat Panels, I simply set them on the desk and their height is good for me.
My desks are deeper than most “traditional” editing desks to putting the monitors on the desk is no big deal. My current desk is 36″ deep and the country table I’m going to pick up soon is 30″ deep.
Walter Biscardi, Jr.
Creative Genius, Biscardi Creative Media
https://www.biscardicreative.comNow in Production, “The Rough Cut,” https://www.theroughcutmovie.com
“I reject your reality and substitute my own!” – Adam Savage, Mythbusters
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[Marc Rolph] “Walter,
Please tell me how I can talk my boss and chief engineer out of getting a $5000 PVMD-14″ Sony monitor.”
Do a side by side comparison, maybe? I don’t know, seems a no brainer to me with the PVM20L5/1 coming in around $2,700 so take the savings and apply it towards more plug-ins for After Effects or add Final Touch HD to your system for realtime color correction.
The PVM’s have been a real standard for so long that you really can’t go wrong with them.
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[sithcommander] “Last and most importanty, onlining the HDCam shot footage is promising, but will the K2 yield broadcast quality results for the standard def footage akin to that of the Alchemist or Teranex?”
It’s really really clean, though the network you’re delivering to will make the final decision on that one. Some networks, like the one I’m cutting a show for, have the Terranex specified in their conversion path.
Walter Biscardi, Jr.
Creative Genius, Biscardi Creative Media
https://www.biscardicreative.comNow in Production, “The Rough Cut,” https://www.theroughcutmovie.com
“I reject your reality and substitute my own!” – Adam Savage, Mythbusters
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[Chris Poisson] “So I’m looking for suggestions for the best hardware to go along with the K2. Does that make sense?”
For drives, I’m really loving FibreChannel for both their speed and the flexibility of locating the units up to 100 feet away from the computer. I’m running the Medea FCR2X (2TB) and they are plenty fast enough for 10bit HD. At the moment I’m running the Apple FibreChannel card which only has copper connections, though shortly I’ll be adding an ATTO Celerity card to both of the FCP units to switch over to fiber optic connections.
I just received a SATA drive unit from LaCie which I’ll be testing in about two weeks for a review here on the Cow and the speed test they sent me looked impressive so we’ll see how that goes.
For a monitor, Sony PVM20L5/1 is still the way to go if you get one soon before they’re gone. I use that for all color correction and then I put a 42″ Vizio Plasma Display on the wall for pretty picture for the clients. It takes the Component output from the Sony.
Also, the K2 and the Decklink SP will work together so there’s no reason to completely get rid of it if you have a second machine. I run the Aurora PipePro in my second suite and projects move back and forth between the two rooms seamlessly.
Walter Biscardi, Jr.
Creative Genius, Biscardi Creative Media
https://www.biscardicreative.comNow in Production, “The Rough Cut,” https://www.theroughcutmovie.com
“I reject your reality and substitute my own!” – Adam Savage, Mythbusters
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How long have you used the drives without cleaning them? If it’s been a while, the drives could be badly fragmented or corrupted and the best solution is to erase them and put your media back on the drives. Generally you want to completely clean off your drives as often as possible and I try to do this after every project.
If you have any extra drives, move the material from the Maxtor to that, erase the Maxtor, then move the media back.
Walter Biscardi, Jr.
Creative Genius, Biscardi Creative Media
https://www.biscardicreative.comNow in Production, “The Rough Cut,” https://www.theroughcutmovie.com
“I reject your reality and substitute my own!” – Adam Savage, Mythbusters
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You might be referring to the Workgroup Hub (I think that’s what it is called) from Blackmagic, but that’s just a video / audio router essentially for FCP, it does not allow realtime switching. As Shane notes, FCP is an editor, not a live switcher.
Walter Biscardi, Jr.
Creative Genius, Biscardi Creative Media
https://www.biscardicreative.comNow in Production, “The Rough Cut,” https://www.theroughcutmovie.com
“I reject your reality and substitute my own!” – Adam Savage, Mythbusters
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[Chris Poisson] “Hey Walter,
boy, no kidding, and I was about to drop 2500 on a JVC HDTV monitor, and you could spend 3 times that on others!!!
Thanks buddy!!!”
You’re welcome. Enjoy and let me know if you like it as much as I do.
Walter Biscardi, Jr.
Creative Genius, Biscardi Creative Media
https://www.biscardicreative.comNow in Production, “The Rough Cut,” https://www.theroughcutmovie.com
“I reject your reality and substitute my own!” – Adam Savage, Mythbusters
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[Marc Rolph] “Can you really get true reference with that? Color Correction?”
Sure, I use it for both HD and SD color correction, both film and broadcast programming. It’s a great monitor, though it’s being discontinued and won’t be around much longer.
Thanks for the kudos on the suite, if you haven’t visited biscardicreative.com you can go there and tour both rooms. I built everything in both rooms and am about to replace my desk in “Wally World” with a large country table. I don’t like ‘traditional’ edit workstations like Winsted and some of the others that have been reviewed here on the Cow. I like to set a very comfortable environment for my clients and I find that these “industrial” or “traditional” edit consoles are rather harsh and not very inviting.
My clients love the overall relaxed feel of both rooms. We’re about to do a total upgrade of the entire facility with all the equipment moving into a 7′ rack out near the Coke machine with machine control and audio/video routing feeding both rooms. This will make both rooms much less cluttered and allow even more “fun” stuff in there for the clients.
Big comfy sofa is a must. A second computer with internet access for the client is a favorite along with the 47″ HDTV with Xbox out front. I love my new KRK Rocket 5 powered audio monitors. The Plasma screen on my wall is a consumer model for so the clients can see a nice large “pretty picture” but I color correct on the PVM20.
Walter Biscardi, Jr.
Creative Genius, Biscardi Creative Media
https://www.biscardicreative.comNow in Production, “The Rough Cut,” https://www.theroughcutmovie.com
“I reject your reality and substitute my own!” – Adam Savage, Mythbusters