RE
" Apple doesn't sell the 23" ACD anymore and even if they did the MXO2 won't work with it."
What makes you say that? We're getting a test MX02 unit in December + updated software that should allow it to calibrate the Apple 23" Cinema HD Display for FCP grading. I made a typo. Yes it will NOT work with the older and confusingly named ACD 23" (culpa mia). The MX02 has all the necessary I/O and the calibration is software driven.
Now.. your recommendation of Silverado is appreciated as they seem to be on my wavelength with regard to the configurations but even Mike doesn't go into much detail about his recommendations from a real-world project POV.
http://silverado.cc/shop/product.php?productid=872&cat=107&page=1
Ironically, I've been communicating with Mike Curtis and he admits that the specs and some truisms in his April 2007 article, HD Workstation for Indies, needs to be updated. I'm here to help with updating it.
As an example: This "Well Equipped" config. was authored with no consideration for how to store the vast quantities of data that multiple project would generate over time. I wonder why a hot-swap enclosure was never mentioned for example? I mean, what are editors supposed to folks do to archive their HD files once they filled up the G-Tech 3.0 TB G-Speed RAID that is cited as an example?
Also, the Matrox MX02 has only just been released and is still being refined. So for UNCOMPRESSED capture + Transcoding, it should have been on Mike's list (or maybe he'll add it now)
Finally, Even Silverado's astute use of Mike's 2007 article doesn't really get you there without a lot of finessing of the system and workflow. What makes a usable turnkey system usable isn't just the stringing along of a bunch of HW&SW. It's as one respondent to my post stated, stating project requirements and intent in a 'plan' which is then used as a foundation upon which to build the turnkey system. I wanted a generic start and Mike Curtis + Silverado are that.
I should also point out that too many VARs in America as more than happy to just sell you gear and if you REALLY want help in stringing the RIGHT gear together, you need to enroll in their classes, where you will be pushed towards sales.
I ponder weather any Film Schools of repute have Instructors that have no vested interest in selling but only in sharing knowledge. That's my next stop in this quest.
A highly relevant pull-quote from Mike...
"Keep in mind when calculating storage requiements, you'll need to include:
-enough room for all your offline resolution media (all your captured source at offline resolution)
-enough room for your online media (your final selects at full res, uncompressed, with handles)
-enough room for color corrected renders
-enough room to render out a freestanding digital master
-plus plenty of extra for visual effects renders, FCP render scratch space, tests, DVD renders & disc images, etc.
It is a far, FAR better thing to have too much space and not need it than to have too little and need more.
And you typically need more than you think."
Another interesting point about the mismatch between a CRT Broadcast Monitor for Color grading, when the end-users are much less likely to be using a CRT HD TV to view content on...
"Video Monitoring - at this level, you need to have accurate color monitoring, as well as an accurate view of your pixels - the base config here includes a 17" JVC that will display all video formats (NTSC/PAL/720p/1080i/1080p) you are likely to ever use. Optionally, however, you can add or switch out to a 23" 1920x1200 professional LCD panel with HD-SDI inputs for pixel-for-pixel accurate monitoring to see all the detail of what is happening with your signal. Ideally, you'd have both - the CRT for guaranteed accuracy down into the shadow detail for color work, and the LCD for a precise view of your pixels...and a more realistic view of how your HD footage is going to be seen (HD CRTs in living rooms are a rarity - it is all rear projection, LCD & plasma these days). There's also the larger 20" Sony CRT if you're more comfortable with that brand, but it is quite pricey and only offers 700 lines of resolution in 16:9 mode. "
TVLogic looks to have the right monitors. This one for example....
LVM - 091W NEW!
9 inch Multi-Format Monitor
Multi-Format 2 Channel SDI Signal Support
(480i, 576i, 720P, 1035i, 1080i, 1080P, 1080PsF)
· Input - 1 D-SUB, 3 BNC (Analog), 2 BNC (SDI)
· Output - 1 BNC (Selected SDI Channel - Active Thru Out)
· LCD Resolution - 800 x 480 (15:9)
· Dot Pitch - 0.246 x 0.246 mm
· Color - 16.7M (true), 24bit
· Contrast - 350:1
· Viewing Angle - 170 degrees
· Power - 12V DC, Standard Integrated V-Mount Provided
· Weight - 4.6 lbs
But how much is it and why is it more accurate at calibration than the $600 Manhattan LCD job?
Apple doesn't sell the 23" ACD anymore and even if they did the MXO2 won't work with it.
TVLogic is one company that makes broadcast quality LCD monitors.
Check out
ProMax or
Silverado for examples of FCP turnkey solutions.
Lethal