DVL-Digest 855 - Postings: Index FAST Software IEEE 1394 (aka DV, aka Firewire) female-to-female connector? Matrox RT Mac - The Whole Story What if....ProMedia JY-VS200 FAST Software - Adam Wilt ...FAST studio software is hard to learn... Let me clarify my statements a bit: I don't think FASTstudio is much harder or easier to learn than any other reasonably well-designed NLE. I fully agree with Brad's "one day to learn, one week to be a power user" experience. FASTstudio is very self-consistent, and quite well designed; operations are logically performed and require no leaps of faith or nonintuitive jumping through hoops to perform. FAST is very fast (sorry!) and powerful if you use it on a daily basis. There are few wasted motions (at least on a dual-monitor system with racks, timeline, and monitors all visible at once) and the editing tools are well optimized for cutting. When I've been working with FASTstudio for a bit and have [re]familiarized myself with its UI, I find myself cursing it very little compared to some other NLEs; FASTstudio puts very few obstructions in my way and I can get cutting done quickly and easily. Where my difficulties come in is when I've been away from it for a while, whether away from editing altogether or working in a different NLE. Because FAST provides few readily-browseable visual cues or crutches (no text menus for 90% of things other than context-sensitive pop-up menus, tooltips that are slow to pop up on icons, etc.), and it's just different enough from the other NLEs I use in my work (FCP, Premiere 5.1, Premiere 6.0, EditDV/Cinestream, Avid Newscutter), I find that shifting mental gears to get back into the FAST way of doing things is more difficult than I would like, and I'm diving back into the manuals to remember how to do something whereas in most of the other editors I'd simply poke through the menus to refresh my memory. Now, my usage is different from most in that I'm bouncing between NLEs quite a bit. Someone working in one NLE all the time won't have the same problems, both because the high mental loading of the abstract, icon-driven interface will be mitigated by the constant reinforcement of daily use, and because you won't be thinking, "OK, it's Thursday, so this must be purple and not FCP, therefore a highlighted timeline track means..."! Thus: FASTstudio is an excellent NLE for full-time, daily use (not even mentioning background rendering, inTime multiprocessing, or the fact that you never explictly save a project!). FASTstudio may not be as good a choice for the casual or part-time editor since it provides fewer clues to its operations and functions than an NLE with a top-level text menu in which all the operations and fucntions can be found. My ./create.pl.02 and worth it, too! Cheers, Adam Wilt IEEE 1394 (aka DV, aka Firewire) female-to-female connector? - Adam Wilt I need to join two 4-pin Fireware cables. Anyone know of a source for > female-to-female connectors? I don't know of any 4-pin extenders/repeaters, but Orange Micro makes a 6-pin repeater that we've used to connect multiple 1394 cables together. We pick them up at Fry's Electronics, but Markertek also carries them (along with 4-pin to 6-pin cables). We've gone at least three hops with these repeaters at S400 (400 Mbits), a total of over 13 meters. Also consider the Videonics DistanceDV cables with built-in passive equalization to extend S400 to 10 meters or S100 to 50 meters (most DV decks only run at S100). Go to http://www.markertek.com and search on "FireWire." All sorts of amusing tools turn up! Cheers, Adam Wilt Matrox RT Mac - The Whole Story - Adam Wilt > ] The Apple codec is better. C-Cube tends to show more chroma errors on > > sharp transitions after a few generations. > > Your answer seems to suggest: if it's all in the first and only > decompression / compression it hold up. Yes, you'd be hard-pressed to tell the difference. > 2. Still, one strives for the best... If the C Cube DV25 is not pristine > quality, is it better to stay with QT 5, with the trade off of no RT > correction. That's something only you can decide! :-) The differences in the first generation or two are very, very small. It's not like comparing the old Apple codec, the Microsoft codecs, and the Radius codec with Canopus, Matrox (software), or Apple's new codec -- the best three I've found. Here the differences are noticeable and sometimes quite obvious after even a single generation (as in the old Apple and Miscrosoft codecs). The C-Cube is not as good as the top three software codecs but it's very close in quality. I, too, am looking forward to RTMAX for its color correction capabilities. I spend more time in picture correction than in any other effect and I like the functionality Brad Pillow is implementing. Cheers, Adam Wilt What if....ProMedia JY-VS200 - Adam Wilt ProMedia JY-VS200 supposedly does true progressive 30P AND true 16:9 chip!!! > ...only one-chip, but should be under on street. Very interesting... In the low light of the NAB show floor the pix were VERY noisy. The camera I saw was apparently in proscan mode; I shot some tape with it but haven't had a chance to look at it yet as that tape was handed off to another editor and I won't get it back for a week. I spent about 15 minutes with it over the course of two days but never did figure out how to turn on 16x9 or turn off proscan. I've used a couple of other JVCs (and have a GR-DV1u) but was completely unable to make heads or tails of the menu system. As the only thing I was able to do was trigger an internal test pattern, I may have been fumbling with an engineering prototype on which the menus were simply not working. Different JVC folks I spoke to said mutually contradictory things about the cameras: can it do 16x9 and proscan at the same time? One said yes, the other no. And so on... The camera is tiny, smaller than an TRV900 by quite a bit. Like some of the smaller Sonys, the tape loads through the bottom of the cam. Like the GR-DV1u, the VS200 looked and felt a bit fragile, without the solid feeling of the VX1000 or PD150. The cam has a three-position selector switch for changing the optical low-pass filter! For some inexplicable reason I had neglected to carry a set of test charts with me as I walked the floor of the show, so I wasn't able to evaluate the effects of the switch. It did seem to be interconnected with the "XGA stills" function; when I threw it, the angle of view changed and the VF display slowed down its update rate, so I'm not sure if the OLPF is usable as a creative tool. Cheers, Adam Wilt (diese posts stammen von der DV-L Mailingliste - THX to Adam Wilt and Perry Mitchell :-) [up] |
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