Ryan, I think the advice you're going to get is anecdotal. It's just really hard to find an A/B test of videocards in all the different scenarios that they are used, e.g. rendering, playback, combining streams. But a better card will give better performance. If you will need or notice that performance for how you use MC, IDK. It seems that if

[quote user="Kenton.VanNatten"] [quote user="postmark"]Since then FC has improved its editing interface vastly and Avid has barely touched theirs.[/quote] I'm always confused and intriqued by this penchant for having the Avid interface "improved/updated". I'm constantly trying to discern what exactly that entails

Sorry Haze. My post was very misleading. I was only refering to color correction features--which has been a long time gripe of mine. Of course there has been a lot of excellent work done on MC. I'm going to edit my post to make it much clearer.

I have an HV-20 and have had very inconsistent results as well. I can usually get it to work, but it takes some doing. I believe the HV's always record in drop-frame, so making your project is set to drop frame and that your in and out points actually exist in drop frame timecode I found helpful, IRRC. But it won't solve all your problems. Firewire

Glad to hear it! As much as I compalin about Avid's color correction features not being further developed, it's really clear that some brilliant people did the work on it. Unfortunately they've been MIA for a number of years when it comes to CC and Avid has just been relying on those developers' past brilliance. But very happy things

I'd look into the remove color cast and match features in color correction mode.

I'm sorry Doc, I'm confused by your post. Ikegami's Editcam and AMA are both mentioned in the post that you quoted.

Ahah, I understand now. Thanks, I didn't see that.

Jef, BTW, I don't believe licensing, in the strictest sense, is the reason why some codecs are used for acquisition over others. I believe it has more to do w/ the availability of chips that process the codec. I've read this is why Cineform, another excellent codec, has not made it into camera bodies; there are no Cineform chips. But there are

DNxHD is an excellent codec by all accounts. Has Avid considered promoting it as an acquisition (camera recording) format instead of merely an editing one? Avid obviously makes DNxHD chips and I am aware that the Ikegami Editcam records DNxHD 145, but this seems to be the only example of a camera using DNxHD. Convergent Design uses Sony MPEG-2 chips