| | | | Re: How to make interlaced H.264 export
by Shane Ross on Nov 22, 2009 at 6:33:23 pm
in the Apple Final Cut Pro Forum
1. Why?
2. Why?
H.264 is a web delivery codec...unless it is utilized for BluRay. Being a web delivery codec it is a progressive codec, as all computer monitors are progressive monitors...interlacing doesn't exist in the computer world.
Sh | | | | |
| | | | Re: Premiere Pro alternatives
by Phil Lowe on Nov 22, 2009 at 5:30:08 pm
in the Art of the Edit Forum
But Phil you seem quite content with Avid Media Composer?
Yes. It's stable and - once you get to know it - fast. I migrated to it when Avid killed Xpress Pro. I had been using that since it was known as Xpress DV starting with version 2, and wa | | | | |
| | | | Re: HD Noob: Confused about Deinterlacing
by John Rofrano on Nov 22, 2009 at 3:54:01 pm
in the Sony Vegas Forum
> The intention is to deliver HD(home)video to TV through a mediaplayer (or a blu ray player).
These are very different devices but both should handle interlaced footage just fine. Probably the best format to be compatible with both is AVCHD.
> | | | | |
| | | | Re: Too Many KP's
by Michael Harrington on Nov 22, 2009 at 12:49:22 pm
in the Apple Final Cut Pro Forum
I didn't realize installing Snow Leopard and FCS 3 was such a problem and planned to do a clean install later on and did the update install to check it out before I begin 2 weeks of travel. Installing all the software is a pain but no way around it.
| | | | |
| | | | Re: HD to DVD - Hardware Downconvert Workflow
by Tim Gibbons on Nov 22, 2009 at 3:02:35 am
in the Apple Final Cut Pro Forum
Rafael,
That's really interesting that you live in Laos. I was there in 2001 shooting a travel doc and speaking of BetaSp I was shooting on a BVW-D600. Due to the humidity, I was seeing this weird vertical oscillation in the picture when I played | | | | |
| | | | Leader 5100 HD Waveform Monitor
by Bryan Mong on Nov 21, 2009 at 11:52:03 pm
in the Classifieds, For Sale Forum
Leader 5100 HD Waveform Monitor $2500
In mint condition.
For pictures go to: http://sites.google.com/site/gearforsaletv/monitors
For a list of gear for sale go to:
http://sites.google.com/site/gearforsaletv/list
Please contact me at | | | | |
| | | | Re: Too Many KP's
by Michael Harrington on Nov 21, 2009 at 10:23:38 pm
in the Apple Final Cut Pro Forum
Another KP as I was launching FCP. Turned off my SataMax and launched FCP without problem. Me thinks I need to look into my SataMax Driver? How do I find out if the driver needs to be updated, I can't even find who makes the dang thing, nothing liste | | | | |
| | | | Re: Down conversion gone wrong? REVISITED
by Bob Zelin on Nov 21, 2009 at 9:32:53 pm
in the AJA Kona Forum
I am afraid to ask this question, but do you have a nice, boring old TV monitor (NTSC 4:3 CRT monitor) at your place, so you can see what this looks like coming out of your DVCPro VTR ? Your 16:9 monitors are confusing you. Go to WalMart, get a crap | | | | |
| | | | Clips on timeline window are "offline" suddenly
by Peter Christian Nowak on Nov 21, 2009 at 4:27:50 pm
in the Adobe Premiere Pro Forum
Can me help anyone? I´m living in Germany therefore excuse my english-language if ist not so correct as expected.
Yesterday while editing my video-film with adobe premiere pro2 suddenly my two monitors switched off itself. After then the program pre | | | | |
| | | | Re: kernal panic
by Michael Harrington on Nov 21, 2009 at 2:09:05 pm
in the Apple OS X Forum
Yes, I'm using most current version DW, 4.2.
Any insight to what's causing the problem? When I looked at the KP log it included FCP notes which is weird cause I hadn't launched FCP. I was getting ready to update my FCP 6 to 7 so once I got the sys | | | | |
| | | | Re: Los Angeles based monitor calibration engineer
by Robbie Carman on Nov 21, 2009 at 4:21:43 am
in the Apple Color Forum
[walter biscardi] "In the case of FSI, if you go that route, you won't need one. It will come fully calibrated and it has a self calibration tool using an FSI supplied probe that you can rent."
True individual monitors can have dedicated probe sys | | | | |
| | | | Re: Los Angeles based monitor calibration engineer
by Robbie Carman on Nov 21, 2009 at 1:04:14 am
in the Apple Color Forum
Ok so he's not LA based but he does travel all over the country.
I can not recommend enough Gregg Loewen from Lion Audio Visual http://www.lionav.com/. Gregg is a master ISF and THX calibration engineer and knows just about ever spec out there. | | | | |
| | | | kernal panic
by Michael Harrington on Nov 20, 2009 at 9:39:24 pm
in the Apple OS X Forum
I guess I WAS one of the lucky ones, been using MAC since the days before my MAC SE20, more recently G4 then G5 and have never had a kernal panic till now. I'm now on a, see specs below, and have had 3 kernal panics, 2 just now as I attempt to load S | | | | |
| | | | Re: Stereoscopic setup with nvidia 3D vision
by Michael Phillips on Nov 20, 2009 at 7:34:33 pm
in the AVID Forum
In Full Screen Play settings you can set up how you want the left and right eyes to be displayed - interlace or checkerboard. Then, over the DVI on the graphics card we go to monitors that support that format - Hyundai, JVC, and consumer monitors lik | | | | |
| | | | Re: 3 monitors and color still unclear
by Arnie Schlissel on Nov 20, 2009 at 3:09:10 am
in the Apple Color Forum
[Bernardo Vieira] "Have a ACD 30 which I intend to use as preview monitor via a mxo/blackmagic."
That's really not a good choice. You should get yourself a broadcast monitor. The Apple is a computer monitor. It's not designed to show accurate c | | | | |
| | | | Re: 3 monitors and color still unclear
by Joseph Owens on Nov 19, 2009 at 11:27:32 pm
in the Apple Color Forum
You use three monitors with a dual-DVI GPU and an SDI I/O device (PCIeKona3 is what I use).
Main User Interface goes out of DVI-1. Preview/Scopes go out DVI-2. The main color grade SDI goes out the PCIe SDI line.
That is all.
jPo
This IS m | | | | |
| | | | 3 monitors and color still unclear
by Bernardo Vieira on Nov 19, 2009 at 10:26:29 pm
in the Apple Color Forum
Read all posts regarding three monitors, still unclear how Color handles the whole thing.
Have a Mac Pro Quad-Core 2.8GHz, 2GB RAM with the ATI Radeon HD 2600 XT graphic card. Have a ACD 30 which I intend to use as preview monitor via a mxo/blackm | | | | |
| | | | Re: HDMI vs HD-SDI
by Shane Ross on Nov 19, 2009 at 9:09:51 pm
in the HD High-End Forum
Boy...you are adamant.
What you are asking is if someone has test an MXO2 with an FSI or other broadcast monitor and Panasonic Plasma monitor and compared them to see if they are exactly the same, or close. Those are VERY specific requirements. | | | | |
| | | | Re: Full Time Editor in LA, CA
by nick asatourian on Nov 19, 2009 at 5:51:59 pm
in the JOBS Offered - Low/No Pay Forum
Have you had a response? I am symphonic with FCPHD. Got my own hardware too. FC keyboard, Contour Shuttle Pro, Mac pro 16 GB Ram, 3 monitors, the works. I can cut better than the Demon Barber of Fleet St. :P | | | | |
| | | | Color Newbie
by Michael Harrington on Nov 19, 2009 at 1:45:34 pm
in the Apple Color Forum
About time for me to tackle Color, any tips on best tutorials aside from Apple Manual. I'll start with Apple Manual and also looking for real world tutorials, proven techniques, tips, tricks, etc.
A film maker friend told me about on on-line 20-m | | | | |
| | | | Re: Quick p.s.f. query
by Rafael Amador on Nov 19, 2009 at 9:17:20 am
in the Apple Final Cut Pro Forum
Hi Will,
PSF exists on tapes an and for monitoring progressive stuff in interlaced monitors.
Once the PSF footage captured will be treated as any other progressive material.
It doesn't affects you animation-editing at all.
Rafael
www.nagavideo | | | | |
| | | | Poll: Flanders Scientific LM-1770 vs Panasonic TH-42PF11UK
by Peter Wollsey on Nov 19, 2009 at 12:57:54 am
in the Apple Color Forum
Unfortunately I have not been able to get all of my questions answered, but it seems both are good monitors for the price.....
I'm not sure whether to go with the much smaller Flanders, which everyone seems to think is rock solid, or the Panasonic | | | | |
| | | | External Monitor Freezing
by Nick Rood on Nov 18, 2009 at 10:20:57 pm
in the Apple Final Cut Pro Forum
Hello everyone,
So I recently started having a seemingly random issue with my external monitor. What happens is when I am previewing a movie, the preview window IN Final Cut works just fine, but the external monitor (where the video preview is fu | | | | |
| | | | Re: Scratchy Audio...Solved?
by Chris Blair on Nov 18, 2009 at 4:31:13 pm
in the Leitch dpsVelocity Forum
That narrows it down to a video display issue. So I'd focus things there. Obviously editing without the preview windows isn't a good way to edit, so I'd start by putting the nVidia card back in. ATI cards don't work well with Velocity. Then, I'd inst | | | | |
| | | | Re: monitor dilemma.....
by Jeremy Garchow on Nov 18, 2009 at 4:07:36 pm
in the Apple Color Forum
[Bram Desmet] "but it is not doing what we do internally as our method does not use motion adaptive deinterlacing."
What does it use, then? Or is it a trade secret? ;)
[Bram Desmet] "However, when we are in Chicago next time I'll be sure to t | | | | |
| | | | Re: MXO questions
by Andy Mees on Nov 18, 2009 at 12:18:23 pm
in the Apple Final Cut Pro Forum
[Shane Ross] "HDTVs are 8-bit, computer monitors 6-bit."
Hey Shane, ya know the Apple Cinema Displays may be 6 bit panels but that does not mean that all computer displays are limited to 6 bit, the MXO will happily display 8 bit color on an 8 bit | | | | |
| | | | Re: Color grading monitor for Macbook Pro
by Paul Redgrove on Nov 18, 2009 at 10:30:05 am
in the Broadcast Video Forum
Quick of quick questions...
1. Looking to hook up a MacBook Pro to a JVC broadcast monitor at OB's going through a MXO2 is my best option? Tried a colleagues ADVC-1000 and couldn't get the darn thing to work (see other post http://forums.creativec | | | | |
| | | | Re: stuttering problems in FCP
by Jim McNally on Nov 18, 2009 at 1:25:10 am
in the Apple Final Cut Pro Forum
Are you running one monitor or two? I had stuttering as well running dual monitors. Unplugged one and stuttering went away. Now waiting for new graphics card.
Jim McNally
The Commercial Factory
www.commercialfactory.com | | | | |
| | | | Re: HDMI vs HD-SDI
by Peter Wollsey on Nov 18, 2009 at 12:51:04 am
in the Matrox Video Systems Forum
Ok :(......
Anyone out there with an MX02 and FSI or Pansonic TH-42PF11UK (with HD-SDI option)? There are probably some other monitors out there with both.....
PW | | | | |
| | | | Re: monitor dilemma.....
by Peter Wollsey on Nov 17, 2009 at 10:39:27 pm
in the Apple Color Forum
Hi Jeremy,
Not a bad guy at all....any input is actually really appreciated.....it does seem to be a really good monitor.....but one thing I think I'll stick to is the broadcast monitors.....maybe it's just an old bias that I should get over, but | | | | |
| | | | Re: monitor dilemma.....
by Bram Desmet on Nov 17, 2009 at 10:35:20 pm
in the Apple Color Forum
We do not simply deinterlace to progressive, which is what the converters are doing. There is a big difference here between computer monitors and a handful of the higher-end broadcast LCD monitors on the market (the FSI included) that will faithfully | | | | |
| | | | Re: monitor dilemma.....
by Bram Desmet on Nov 17, 2009 at 9:57:55 pm
in the Apple Color Forum
I would suspect so, but honestly I can't give you a better answer than that because I have never done a side by side comparison with the Matrox HDMI vs SDI output to our monitors. Also, I wouldn't necessarily dismiss analog component if you have an | | | | |
| | | | Re: MXO questions
by Shane Ross on Nov 17, 2009 at 9:56:50 pm
in the Apple Final Cut Pro Forum
[Eli Mavros] "What I can't understand is why the MXO2 does not include the ability to monitor video on a computer monitor, like its predecessor."
Two different product with two different purposes.
[Eli Mavros] "I know there is a difference betw | | | | |
| | | | Re: monitor dilemma.....
by Bram Desmet on Nov 17, 2009 at 9:33:55 pm
in the Apple Color Forum
HD-SDI is definitely my preference for any professional application. However, we understand that people don't always have the budget to go HD-SDI and that is why we have made the effort to have many of our ancillary features like Waveform, Vector Sco | | | | |
| | | | Re: monitor dilemma.....
by Peter Wollsey on Nov 17, 2009 at 9:03:16 pm
in the Apple Color Forum
Thanks Bram....that clarifies the LED / LCD thing somewhat.....
I guess decision making gets difficult when trying to put together the best possible suite for a low price - its hard to know where to make the compromises sometimes and what combinat | | | | |
| | | | Re: monitor dilemma.....
by walter biscardi on Nov 17, 2009 at 8:31:37 pm
in the Apple Color Forum
Here's the thing I've been learning about the DVI outputs of the new 27" iMac and I'm betting this will also apply to the Macbook / Macbook Pros.
The graphics cards do a lot of dithering and masking meaning they essentially clean up a signal on th | | | | |
| | | | Re: reference monitors?
by David Braswell on Nov 17, 2009 at 8:07:37 pm
in the AVID Forum
Based on the Samsons I've heard, I'd second that opinion. Don't see any real reason to go with USB powered other than portability though. If music ends up being a bigger part of the mix, you may want to step up to something in the Samson Resolv line. | | | | |
| | | | Re: FCP for Broadcast
by Jason Ingersoll on Nov 17, 2009 at 5:54:18 pm
in the Apple Final Cut Pro Forum
I am not sure how they are looking at it. Its a NBC station so I assume they have the ability to view it properly but they said the biggest hurdle is mac to pc? But I dont think that should be a problem. I work for a non profit so right now we cant | | | | |
| | | | Re: Which screen(s)?
by Alex Elkins on Nov 17, 2009 at 3:36:12 pm
in the Apple Final Cut Pro Forum
Hi William,
Most editors spread FCP (or Avid, Premiere etc) across both screens. For example, I have my Browser window taking up the entire left screen, and the Timeline, Canvas and Viewer on the right. To my knowledge this is how most editors cho | | | | |
| | | | Which screen(s)?
by William Dron on Nov 17, 2009 at 3:00:02 pm
in the Apple Final Cut Pro Forum
Hi
We’re looking to upgrade our video edit suite from a single iMac (using the built-in screen) to a standalone machine with separate screen(s). But we’re not sure which to go with.
Most of the video produced here is for display on computer mon | | | | |
| | | | Re: suggestions on hardware set-up
by Michael Sacci on Nov 17, 2009 at 7:26:55 am
in the Apple Final Cut Pro Forum
the one place that the iMac (any of them) will fall short is the HD bus, FW 800 is fine for normal editing even with ProRes HD, but getting more than 3 streams to run smooth is about the limit for multicam. 2 cameras transcoded to ProRes should be fi | | | | |
| | | | HD High-End | Driving Toward Success
No matter how unexpected and varied the routes, the roads to success are often marked by customer service, attention to detail, and the imagination to see that success is even possible.
Feature, People / Interview
Author: Philip Garvin |
| | | | |
| | | | Business & Marketing | Heavy Iron
How can a creative business survive, much less prosper, these days? DigitalFilm Tree's Zed Saeed offers a possible solution that combines embracing new, disruptive, low-cost technologies, and investing wisely to add value.
Editorial, Business
Author: Zed Saeed |
| | | | |
| | | | HD High-End | HD Unleashed
In this review from The Creative COW Magazine, Charles Papert, SOC, sets his Steadicam free with wireless, uncompressed HD using the IDX CAM~WAVE.
Review
Author: Charles Papert |
| | | | |
| | | | Cinematography | The Redrock Micro DSLR Cinema Bundle for the Canon 5D MKII
If you are using the Canon 5D MKII or Nikon D90 for their gorgeous HD video, or even thinking about it, you need to read this. Creative COW Contributing Editor Jim Harvey shows how the Redrock Micro DSLR Bundle makes these cameras even more useful for video shooters, then shows how he and other pros are using it, in the field and in the studio. Jim is enthusiastic about the possiblities it opens up, and thinks you will be too.
Review
Author: Jim Harvey |
| | | | |
| | | | Broadcast Video | Broadcast Quality at Bargain Prices
Brand new to the market and loaded with high-end features, Flanders Scientific has introduced four high definition LCD panels specifically developed for the pro market. With the help of the COW's Walter Biscardi, Jr. and senior telecine colorist Ron Anderson, Nick Griffin offers a first look at these high definition broadcast monitors from FSI.
Review, Feature
Author: Nick Griffin |
| | | | |
| | | | Cinematography | Focus on Controlling Depth of Field with Depth of Field Converters
Cinematographer and Creative Cow leader Todd Terry has shot countless television commercials and industrials using both 35mm film and depth-of-field converted video. In this Creative Cow Magazine Extra, from The Visual Effects Issue, learn how depth of field converters allow you to attach 35mm lenses even to video cameras with fixed lenses, how they work, and which one might be right for you.
Feature
Author: Todd Terry |
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| | | | Creative COW Magazine feedback | The Truth About 2K, 4K and The Future of Pixels
John Galt, Panavision Senior Vice President of Advanced Digital Imaging, led the team that created the Genesis camera, was responsible for the F900 Star Wars camera, and continues to play a leading role in guiding future digital cinema technologies. In this Creative Cow Magazine Extra, join us for a wide-ranging conversation, as John cuts through what he calls the intentional obfuscation of marketing pixels, and considers the range of options that are becoming available to digital filmmakers.
Feature
Author: John Galt |
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| | | | Art of the Edit | Surgical Video: The Cutting Edge
Creative Cow leader Mike Cohen has been working on the cutting edge of surgical video for years. In this expanded version of his article in the Cow Magazines Non-Broadcast Production Issue, Mike answers some of the most frequently asked questions about these techniques from the Cow forums. Its fascinating stuff, but seriously, maybe have some breakfast before you take a look.
Feature
Author: Mike Cohen |
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| | | | Audio Professionals | ADR: Hollywood Dialogue Recording Secrets
Correcting dialogue is one of the most important parts of the old saying, fix it in post. They're part of a process called ADR -- Additional Dialogue Recording, or Automated Dialogue Replacement -- that has been going on since movies had audio, and is still being done today, from the smallest indie films to the biggest blockbusters. Here's an overview of the world of ADR, some of the Cows who are working in this field, and where to go when you are ready to ADR to your own productions.
Feature
Author: Cowdog |
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Podcasts | | | | creative cow extras podcast
Colorgrading Monitors: What Works, What Doesn't
In this Creative COW extras podcast, Walter Biscardi and Ron Anderson discuss one of the most discussed topics in the Apple Color forum, color grading and monitors. Ron Anderson is a colorist with CineFilm Atlanta. | | | | |
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