Will Eccleston
Forum Replies Created
-
Apologies for posting this exact same text in a similar thread, but thought it might be helpful. (don’t blame me if you get “bricked” though!)
I just upgraded my firmware from 1.11 to 1.20 using a Mac Pro running OS 10.5.8 and it worked fine for me. A couple of things to note:
Initially the upgrade app wouldn’t recognize that the camera was connected. An internet search revealed that you don’t use the regular USB port that you would use to transfer card data. Right beside it is a tiny panel held in place with 1 screw. Remove this to find another “maintenance” USB port. Amazing that this is not mentioned anywhere in the upgrade software.
Also, at 3 points throughout the upgrade I received a warning about unplugging a USB device. Hit OK and ignore this.
After upgrade, overcranking in 720p24 mode at 60 fps to my Delkin SD card still resulted in a media error after about a minute (but would’ve failed after a few seconds with the old firmware). It still stored the clip as shot until the error occurred, and did not result in “media needs to be restored”. With my Sandisk 16GB card, I was able to fill a completely empty card in full overcrank without stopping. It then switched to the other slot, which still had the Delkin in it, and again failed with the Delkin. Excellent results though!
Will Eccleston
Kinetiscape Films -
I just upgraded my firmware from 1.11 to 1.20 using a Mac Pro running OS 10.5.8 and it worked fine for me. A couple of things to note:
Initially the upgrade app wouldn’t recognize that the camera was connected. An internet search revealed that you don’t use the regular USB port that you would use to transfer card data. Right beside it is a tiny panel held in place with 1 screw. Remove this to find another “maintenance” USB port. Amazing that this is not mentioned anywhere in the upgrade software.
Also, at 3 points throughout the upgrade I received a warning about unplugging a USB device. Hit OK and ignore this.
After upgrade, overcranking in 720p24 mode at 60 fps to my Delkin SD card still resulted in a media error after about a minute (but would’ve failed after a few seconds with the old firmware). It still stored the clip as shot until the error occurred, and did not result in “media needs to be restored”. With my Sandisk 16GB card, I was able to fill a completely empty card in full overcrank without stopping. It then switched to the other slot, which still had the Delkin in it, and again failed with the Delkin. Excellent results though!
Will Eccleston
Kinetiscape Films -
Well, yeah, I know that. Thanks though. There were a few months there that for some reason Motion Docs weren’t previewing in COLUMN view. I find column view to be the most useful to me most of the time. And yeah, I know I can turn up the triangle to hide previews. I just want the situation I had for a few months there: Column view, previews on, everything previews EXCEPT Motion Docs. Perfection.
Will Eccleston
Kinetiscape Films -
“Do spend some money on it to get it right, even get a patch panel if you like. Time saved for NOT having to think about it when working will pay off very soon. ”
Agree wholeheartedly. Not my money to spend though. May happen.
Thank you,
Will
Will Eccleston
Kinetiscape Films -
There is a mixer in the system already, but I don’t think I can achieve what I want without another separate bus. I’m setting up this system for a client. Currently the beta is patched for Kona input and output, which is the more important operation (when will the day come that I’ll never have to capture or output Beta ever again?) but I’d like to also have it set up to dub to DVCam or their DVD recorder. Of course this will require a mixer or direct box to get the audio to the right level. There may be a way to make everything doable with the mixer that they have, I just can’t conceive of it. Especially being able to monitor the edit system while editing and make a dub of something entirely different simultaneously.
Will Eccleston
Kinetiscape Films -
Thanks guys. It seems from what I read that between Miller, Cartoni, and Satchler I’d be a lot happier.
Will Eccleston
Kinetiscape Films -
So you’re saying we’ll be able to shoot at 720p60 and conform to 30 or even 24 for super-slomo, right?
Will Eccleston
Kinetiscape Films -
Exactly, thanks! Now I just need to get a decent head, instead of this P.O.S. Manfrotto.
Will Eccleston
Kinetiscape Films -
Just curious – if the EX doesn’t send over/undercrank out the SDI spigot, how will the nano be adding that capability?
Will Eccleston
Kinetiscape Films -
I’d spent thousands of hours sitting at AVIDs when Final Cut came on the scene. The first time I was forced to use it, I hated it. It was so much different than AVID, and I was slow and frustrated. Gradually, as I was forced to use it more, I realized that I was developing a whole different mindset when sitting in front of FCP as opposed to AVID. Eventually the scales tipped entirely over to Final Cut. As a freelancer, I’m still required to run both at various houses, many times in the same week, or even day. There will always be bits and pieces of he AVID interface that I miss, but the combo of Motion and Final Cut allows me to do much, much prettier work, with a better user experience, and in the end, that’s what really matters.
Most people who think Final Cut is not a REAL professional tool have not spent enough time with their face in front of it to divorce themselves from the AVID mindset. One recommendation – DO NOT set up your FCP keyboard to match your AVID keyboard. It will only help keep you in the mindset that you’re sitting at an AVID, trying to edit like an AVID.
I edit all over Atlanta, at post houses, various corporate headquarters, and at home, and the day is rapidly approaching that I won’t have a client that has an AVID.
– Will
Will Eccleston
Kinetiscape Films