Broadcast monitor and FW hub

hello - I have the macbook pro with the 1 firewire output. I want to have a FW400 harddrive with my media hooked up to it, but i also want my camcorder hooked up to the computer to act as a convertor so i can use a broadcast monitor. my question is, can I make both devices (camera and harddrive) work with the only 1 FW port on my laptop? If I use a FW hub, will that slow down the speed of the firewire connection? what will happen? If I got the 17 macbook pro with the 2 fw ports, do those ports act independently? thanks!

ok jerry, thank you so much. if you don't mind, i have one last question (honestly). so here are my devices for my station.
1. laptop with 1 fw400 drive (soon to also have the cardbus fw800)
2. external 400/800 lacie drive
3. videocamera for use as deck / convertor for monitor
4. external monitor for color correction etc.
how would you say is the best way to connect all these for editing / capturing? i want to just edit 4X3 SD and capture to the external.

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Laggy window performance with external monitor and USB hub after 8.1 -- possible cause found

I have the Yoga 11s which I've been using in conjunction with a Plugable UD-3900 for a few weeks now. Everything has worked very well, especially with external display, keyboard, mouse, and ethernet plugged into the hub.
After upgrading to 8.1 the other day, I began getting very noticeable window and mouse lag on the external monitor. Dragging windows would jump around, aero peek renders were slow, and the 'ribbon' screen saver would pixelate and was slow to wake up.
I installed the updated DisplayLink drivers, and also all the updated Lenovo drivers, but the problem remained. This morning I was trying different ideas and found something very interesting:
The configuration I use when attached to the UD-3900 is to have the keyboard flipped under and the display flipped up in the "stand" so I can use it as a second monitor. Of course when you do that, the Yoga turns off the keyboard & touchpad so they don't get accidentally pressed.
Just for kicks, I decided to flip the keyboard back around and try using the touchpad to move windows around on the extended monitor. Surprise: the laggy window dragging and rendering was gone. And then even more surprising, when going back to the wireless mouse while still in 'laptop' configuration, everything continued to work well -- no lag.
I thought maybe it was an incompatibility with the Logitech wireless USB keyboard/mouse itself, so I disconnected it. However, I also have a bluetooth Microsoft mouse, and it does the exact same thing: With laptop keyboard flipped back & disabled, window drags & aero peek renders lag. As soon as I activate the touchpad, lag is gone, and the BT mouse behaves normally.
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Just to close the loop on this, I've determined that the cause of my issue is the Intel Dynamic Platform and Thermal Framework software/driver. I've disabled in the BIOS for now, and the machine is working very well. Will look for an update from Lenovo to address more definitively.

Video color warmer in FCP than on broadcast monitor and Quicktime

Hi there!
We shoot interviews yesterday which looks fine on our calibrated video monitor (as well as when we looked at them in Quicktime) but when we import then in Final Cut Pro (v. 6.0.2) they turned too red, like if the guy got strong sunburns. And when I exported a clip from FCP and reopened it in Quicktime, it kept that strong red look. It looks like FCP is changing the colors by itself.
Is there something wrong with our FCP settings?
Thanks for your help.

It looks like FCP is changing the colors by itself.< </div>
You have told us nothing that can help us diagnose this for you. The codec and capturing format would be helpful, don't you think?
You must use scopes to evaluate video objectively. All monitors are subjective depending on the test signal and competency with which it was set up.
bogiesan

DVI to Video adapter CRT Broadcast Monitor? Is there a better option?

I am a freelance motion graphics artist, and I use Final Cut Studio, After Effects, Photoshop, etc.
I need a CRT monitoring solution for checking my color grades, etc.
SD resolution is fine, and i've got my eye on a JVC TMH-150CGU broadcast monitor from B&H. It has an S-Video (Y/C) input.
I'm thinking of using the Apple DVI Video Adapter hook up to it via S-Video.
I have a Pantone Eye-One that I can use to calibrate the monitor.
Would this setup work ok in the above applications? Will it support Digital Cinema Desktop Preview in Final Cut?
I have the 30" Apple display. Will connecting the CRT via DVI steal 256mb of my video memory???? That seems drastic considering it's already driving a 30" display AND running after effects!!
I've thought about FireWire monitoring, but I suspect the FireWire/DV 4:1:1 compression will affect the colors.
I know a CAPTURE CARD would be ideal, with SDI, etc... but I don't really have a need for a full blown capture card at the moment. I don't think use it to it's full potential (ie- to capture). It seems silly spending $$$$ just for a monitoring solution.
Or is a capture card my only option for pro monitoring? If I was to buy one, i'd want a future proof one should I digitize in the future (ie, HD, with analog support), so that leaves either a Blackmagic Intensity Pro (which I believe is only 8 bit) or a BlackMagic Decklink HD Extreme. And then i'd also need the SDI or Component expansion card for the JVC monitor, and before I know it, i've spent over $1000, just for a decent monitoring solution. Ouch.
I strongly considered the Intensity Pro card, because I could monitor SD component, and HDMI HD from the same card. But it put me off when I heard it ws only 8 bit. But it is 4:2:2 though.
What might KILL the Apple DVI adapter option is I have a TON of PAL footage, and I heard the adapter is NTSC only (or a seperate PAL version). So even though the monitor supports both standards, the adapter doesn't. Or so I've heard.
Very confused. Any other options or advice would be greatly appreciated!
Thanks!

Hi,
From the sound of things you have answered your own question.
If you wanted a CRT to just check video playback, safe areas and text legibility then a cheap option of monitoring via a deck or camera would suffice.
You mention a lot of PAL footage just as a FYI this would be 4:2:0 as opposed to 4:1:1 with NTSC under the DV codec.
You don't mention (and I'm sorry if I missed it) what codec you output to. I had always found when working with DV only that a DV monitoring solution was sufficient for most applications.
However as you indicate that colour plays a factor in the equation bite the bullet and get a decent monitoring system from the off. I am using the Decklink Extreme and have found it to be excellent especially in real time conversion and monitoring of HD to SD.
In addition you get the ability to work all the way up to 10bit (drives allowing) and capture over SDI with full deck control.
You could stagger the cost since the BM card will let you monitor composite out in addition to component so the expansion board for the CRT might not be a must have from the get go for you.
Whatever route you go you will want to calibrate the CRT using broadcast colour bars rather than a Pantone system, theres plenty of info on the web regarding this . . and why.
Message was edited by: Steve Mizen

LCD TV as a broadcast monitor?

Hi all,
Was planning on buying a Cinema Display to do a 3 display setup:
1 - Macbook Pro - library/media
2 - Apple Cinema Display - timeline
3 - LCD flatscreen TV - monitor
Is it possible to use my LCD tv as a broadcast monitor. I`m assuming I would need to buy a ``Thunderbolt to HDMI adapter`` and daisy chain from the Cinema Display thunderbolt) to the LCD TV (HDMI).
Thanks

Sure, you can get a miniDisplayport-to-HDMI adapter to daisy-chain off the Cinema Display and it should work just fine.
LCD TV as client monitor.
Client? If these people are paying you money, shouldn't you guarantee how it's going to look? I guess it depends on your approach to your business, but what if the client is looking at the client monitor and asks you to adjust a certain color or brightness? How do you know if you're really giving them what they're asking for?
The issue is not whether you broadcast or upload. It's just that broadcast standards (i.e.REC 709) are also references for people doing quality work on the web.

HOW to temporarily use Broadcast monitoring work on snow leopard OS X v10.6.8 for FINAL CUT PRO X

thx,macmacmac give me prompt.He had an interesting trick for getting the OS X Lion 'only' plugin to work on Snow Leopard
To install the plugin on Snow Leopard OS X 10.6.8 you have to temporarily change your system version number to Lion 10.7.2!
1. Go to HD:/System/Library/CoreServices/SystemVersion.plist
2. Copy the file to the Desktop
3. Open the original with a text editor and change the string value of 'ProductVersion' and 'ProductUserVisibleVersion' to '10.7.2'.
4. Save & Overwrite.
I suddenly thought Apple said that Broadcast monitoring work on Lion OS X v10.7.3.I change system version number at once! Changing 10.6.8 snow leopard system version number to Lion 10.7.2!
ok,no problem. Restart final cut pro x,A/V output has appeared in FINAL CUT PRO X preferences and Window Menu
Enjoy it.HAHA!:cheer:

thanks for the tip fan!

VGA monitor and TV switchbox with Mini

I have recently purchased the EyeTV for DTT box for my Mac Mini. I currently use a Dell VGA monitor for my work but would like to watch TV broadcasts from the EyeTV through my TV. However, I don't want to keep unplugging the monitor and then plugging in the TV (via the DVI - S-video adaptor) each time I want to view EyeTV stuff. Is there some kind of switchbox available which would enable me to have both the monitor and TV connected and where I could just flick a switch to send the video signal to either the monitor or TV (note: I don't need the video signal to be displayed on both the monitor and TV at the same time).
Thanks in anticipation.

Sorry I misread your post.
One option would be an eyeHome which would connect to the ethernet port of the Mac mini.
Another option is a VGA Splitter.

No Signal from Timeline to External Broadcast Monitor

I've been running FCP 6.0.1 for about three months with no problems until just recently when I lost timeline signal to my external JVC broadcast monitor. Log and capture work fine and All Frames is selected in the View menu.

#8 External Monitor Viewing.
Shane's Stock Answer #8:
A simple path is mac > firewire > camera or deck > rca cables > tv
Then start up your camera and tv, then open fcp.
Then go View > External video > all frames
VIEW>Video playback should be Apple firewire NTSC (If you are using an NTSC set)
VIEW>Audio playback should be Audio follows Video
Techinially, this should send synched video to your TV
If for some reason you can't view your timeline on your external monitor, there are a few things to try:
1) Make sure that the camera/deck is connected and powered on BEFORE you open FCP.
2) In the Final Cut Pro menu select AUDIO/VIDEO Preferences and make sure your signal is being sent out thru Firewire DV.
3) Go to the menu and select VIEW>EXTERNAL>ALL FRAMES.
4) Click in the % box above the image and select FIT TO WINDOW.
5) Go to VIEW->refresh A/V devices
6) Make sure the Log & Capture window is closed
If you want it to play in both the canvas and the external monitor you need to go to the FINAL CUT PRO menu and select AUDIO/VIDIO settings and make sure MIRROR ON DESKTOP is selected under the PLAYBACK OUTPUT section
Shane

Is it possible to output to div monitor and s-video at the same time?

I'm editing video and want to see the broadcast results on the fly (ie monitor and tv side by side, same image onscreen). Is it possible to output to div monitor and s-video at the same time? Maybe thru a splitter cable. I'm concerned about resolution issues.

This is not possible with a mini.

Tear/rupture in viewed frame on broadcast monitor

I'm new to Colour and still finding my way a bit but having completed my first project on it the biggest let down was that I could never preview my grades on my broadcast monitor without a horizontal tear (rupture) appearing across the viewed frame.
I used the cursor keys to scroll through the clips I was trying to grade, and now and again the image would resolve itself into a full frame, but more often than not the top third of the image seemed to relate to a frame two or three frames either side of where the playhead was located. This problem becomes even more pronounced when I'm trying to toggle the grade on and off.
Also, if I try and make use of the 'frame store' function that allows you to composite stored frames over your current grade in order to get maintain consistency across scenes, I end up with a kaleidoscopic effect where up to 4 different images are mashed together in an incomprehensible mess. I've tried adjusting settings in the 'frame store room' - angle and the position of the comp - but it doesn't really help.
I'm outputting at 10bit PAL to my JVC crt broadcast monitor via a Kona 3 and connecting using SDI.
Any help would be great. Thanks

I'm still not sure what your source media codec is, but it sounds as though it isn't HDV.
If there is a mis-match between the source codec and the output that you have requested, there might? be an issue -- and the basic fact that it is an nVidia card, which are infamous for not supporting anything beyond 8-bit, makes me suspicious, as well. What is listed, and as a minimum, may not afford optimum performance, to put it euphemistically.
I'm looking for ways that the media could get jumbled up, and the GPU, doing the lion's share of picture processing, is always the prime suspect. Dust for fingerprints, get a DNA sample.
jPo

Using Mac as a broadcast monitor

I have a unibody macbook pro and am wanting to use it as a broadcast monitor for field production, we are using a panasonic p200 and wanting to know what is the best way to play back with minimum or no lag, i have final cut studio and also adobe on-location cs4, what other methods also is their to get best results, all the est and thanx

have a unibody macbook pro and am wanting to use it as a broadcast monitor for field production..........to get best results
do you want a broadcast monitor, a field monitor or a computer monitor, do want best or poor results, they are all different solutions?
what other methods also is their:
watch a picture on a laptop-dozens of software apps available
1 Quicktime Pro:
2 http://www.boinx.com/boinxtv/overview/
is this a professional best way? NO
what is the best way to play back with minimum or no lag,
you need either a broadcast monitor or a more affordable field monitor, not a computer screen from a laptop
9" LCD
http://www.creativevideo.co.uk/public/viewitem_cat.php?catalogue_number=sonylmd-9050
17" CRT
http://www.creativevideo.co.uk/public/viewitem_cat.php?catalogue_number=jvctm-h150cg
Broadcast field monitor:
http://www.creativevideo.co.uk/public/viewitem_cat.php?catalogue_number=panabt-lh1760we#

Discrepancy between HD monitor and output video

Howdy community,
I have a weird problem with Final Cut Pro 7. I have an Asus VW266H HD monitor, set at a good viewing angle on my desk. When I was editing some footage, it looked WAY too dark, so I used a color correction filter and brought the blacks up to 95. The resulting image in the FCP viewer window is the one you see on the left in my screen shot. I hope you can imagine just how dark the original footage was. I was reasonably satisfied with how the footage looked, especially since it wasn't looking "milky" like it can if you lighten/whiten too much in post.
So then I exported the footage, and got the image on the right (in my screen shot). These two images are from the same second of video, on the same monitor. NO changes were made between the exported version in QT on the right and the FCP viewer image on the left.
Why does my monitor and/or the final cut viewer window show me an image that does not represent my output? If the image in final cut and the exported version in quick time look so different, how can I trust my eye in final cut?
Obviously, this is a huge problem.
Please help!!!

If that is the case, how does the editor control how the image looks to others?
You can't. This general problem has been around since the advent of moving pictures. Wander over to the video wall at any big box store and look at the displays. There won't be two that appear alike. All you can do is control the image you send out.
If you are seriously interested in image integrity, get yourself a output device from AJA, BlackMagic, Matrox, etc that can send a qualified signal and a calibrated broadcast TV monitor to to view that signal. Then you'll know what it really looks like.
To paraphrase the old Yiddish saying, "A man with two clocks can never be sure of the time, but, man with an atomic clock, will know."
Good luck.
x

Broadcast monitor vs XRite i1?

After NAB I had finally settled on getting a "budget minded" Flanders Scientific monitor for our basic workflow of color correction and grading, etc. Then today I saw a webinar on the XRite i1 Display Pro. Apparently it can now calibrate to Rec 709. Can a $249.00 product do justice? We would, of course, loose the scopes from the Flanders, but I don't really need them since we have scopes in Premiere and are doing web delievery. The appeal is that we are beginning to do some mobile editing (MacBook Pro) along with tradational post in our online suite. Thoughts?

Well essentially the differences that your looking at when including a Colorimeter is color range. What you may want to do is look at the Asus 24 inch PA246Q IPS screen with that Colorimeter since it should have the same color ranges or close color ranges to Broadcast monitors.
Eric
ADK

Alternative to professional broadcast monitors?

So I'm starting up a business - and don't have a lot of money at this stage for equipment. I'd like to get a monitor that is good for color correction - but broadcast monitors are just out of my price range right now.
Since I'm not doing broadcast work, but assuming I will still be editing high quality work that will go to dvd, are there any good alternatives to professional broadcast monitors that can be used for color-correction.
i've noticed most lcd tv monitors on the market suck for editing....what else is there?
And....can anyone tell me why broadcast monitors are so expensive ....what is it about their technology that is truly superior ???
thanks ....

sure they do, it's the bvm series.
i'm going to take a completely contrarian point of view to everyone's (except steve's) argument and argue in favor of a cheap sony 13 inch wega flat screen tv from best buy.
consumer equipment will reveal flaws faster than the so-called "professional" monitors. i use the term "professional" lightly as any older panasonic crt was a hunk of junk and so are the sony pvm '"n" series of monitors. am i advocating that we all use rca or curtis mathis or zenith tvs? good heavens, no, however, too much is made about the quality of the display around here and not enough stink is made about the quality of measuring tools like scopes being used.
i simply cannot fathom how someone making money will spend many thousands of dollars on a display and then rely on the pathetic software scopes. the only software scope that i would rely upon if i were making money doing this would be the new avid plug-in that videotek (or is it tektronix? i looked just yesterday and can't remember) is now making. i can only hope they build it for fcp as well. but this is just my opinion.
how many of the folks using fcp are currently getting anything on the air? how many are going to a film out or even festival distribution displayed with a projector? now, how many of those folks are reading here and then get pounced upon for not using a "broadcast quality" monitor? how your product is being viewed is how you should look at when color grading but in most instances this is completely impractical and expensive.
my experience with broadcast quality is anything goes. i've shaded my shows to consumer tvs and transmission has never said anything to me. i've shaded my shows to ancient crt's that bounced down the road for the last decade and have never been retubed and need it. i've shaded my shows to the latest and greatest lcd monitors and have left at the end of the day with a splitting headache. the point is, there is no "broadcast monitor" standard (there are however, broadcast transmission standards that in the end, we all have to follow if going on the air) and yes a blue check is nice but there are workarounds and i have to use them. yes, a nice bvm is a joy to work with however i did a show just recently looking at 5 bvm monitors and not one of them looked like the next and i didn't have time to go in and properly calibrate crt bias so i picked the one i liked best and used it.
today i'll do a four camera espn basketball game that goes straight to webcast, ESPN 360. logic dictates that i should shade that show on a computer monitor but i won't be able to, instead i'll use the less than professional crt on this particular "mobile broadcast" truck.
again, these are just my opinions. fire at will.
zeb

Editing for air but no broadcast monitor

Hello. I hope you can help! I edited a :30 from footage off a Panasonic P2 camera (data files) that I treated like DVC50 NTSC 720x480 anamorphic. I do not have a broadcast monitor. The producer has one though, in another state. My question is, how to best color correct? Do I just follow the fcp scopes and go with that, or do I export out an fcp file or a QT file of the sequence and send it to the producer, who can then bring that into an fcp project and view it in the broadcast monitor? Or will levels be too far off with that export?
Thanks so much for any light you can shed.

Scopes don't help your eye see the colors...judge how red RED is...or how far you can crush the blacks before people can't see anything, or how washed out the image might be. So unless you have a broadcast monitor, you cannot judge. Sure, your Producer will be able to see...but then will he do the color correction? Or will you try to do some sort of long distance over-the-phone color correction? Not that he will then be able to see what you are doing.
The best you can do is make it legal...whites and blacks hitting within legal limits. You won't have any reasonable way to tell what things look like.
If you are going to be doing this sort of thing for a living...color correcting and outputting the show master...then you need to invest in the proper gear. Or send the project/file out of house to have it color corrected by someone who does.
Shane

Broadcast monitor and FW hub

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