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3000 hours of Beta SP, best way to capture?
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WOW David…that really puts it in perspective. I never even thought of that. SO even with THREE systems capturing for 10 hour days, that would take ONE YEAR to complete. Have two shifts and you cut that down to 6 months. Well, longer than that as you need to log and label your footage too, as David also mentioned. That is a LOT of footage, and you need to track it.
THen there is the storage requirements. At DV50, that would be 81TB of footage. Not sure what the data rate for IMX is, so I can’t calculate that.
Why do you need this amount of footage? That is insane.
Shane
GETTING ORGANIZED WITH FINAL CUT PRO DVD…don’t miss it.
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Hello,
I suggested Apple Pro Res, obviously uncompressed 8bit SD is a very solid option capturing though a Blackmagic card will be good but the data-rates will get huge very quickly. Cross platform would be a ghood option for mac/Pc’s to share the video files to create new edits and such.
I have not used pro Res before, it this cross platform?
Thanks,
Leo
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That sounds like a full archive being digitized.
I guess some material were 1’B and 1’C tapes that they were converted to Betacam few years before.
I saw thousand of these big boxes (with the tape inside) let to be destroyed because it was no money to recover all that.
Conclusion: Archiving is a complicated and expensive task.
rafael -
[Rafael Amador] “That sounds like a full archive being digitized.”
That’s what it sounded like to me too.
David Roth Weiss
Director/Editor
David Weiss Productions, Inc.
Los AngelesPOST-PRODUCTION WITHOUT THE USUAL INSANITY ™
A forum host of Creative COW’s Apple Final Cut Pro, Business & Marketing, Indie Film & Documentary, and Film History & Appreciations forums.
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[Chris Poisson] “What the heck kind of project has 3,000 hours of footage? That’s 125 days worth. Holy Moly. “
One example would be reality TV shows. I worked on a show once that shot about 2500hrs of footage in 10 days. All that was later cut down to 9 or 10 episodes.
-A
3.2GHz 8-core, FCP 6.0.4, 10.5.5
Blackmagic Multibridge Eclipse (6.8.1) -
[Andrew Kimery] “One example would be reality TV shows. I worked on a show once that shot about 2500hrs of footage in 10 days. All that was later cut down to 9 or 10 episodes. “
Yep, that’s a great example. Think about Deadliest Catch on Discovery Channel. 50 cameras running for something 4 weeks, most of those running 24/7.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author.
Credits include multiple Emmy, Telly, Aurora and Peabody Awards.
Owner, Biscardi Creative Media featuring HD Post
Biscardi Creative MediaCreative Cow Forum Host:
Apple Final Cut Pro, Apple Motion, Apple Color, AJA Kona, Business & Marketing, Maxx Digital. -
In reality TV, 3,000 hours is a small show!
We have several shows in the 5,000 hour + range in post simultaneously. We’ve transitioned to tapeless, so the
ingestion process is now much faster than real time (XDCAMHD. In the not too distant past, when we had to ingest “realtime”, the only solution was to throw resources at the problem. We would typically use 10-15 systems working at night simultaneously to pull in such a high quantity of media. Even with that number of systems, it was typically done over a few months.Nobody’s even talked about how big of a SAN or RAID you’re going to need to handle all this media at full res. We’re well over 100 Terrabytes and we still can’t use Full rez. That’s why we use an “off-line to on-line workflow”.
To the OP, this isn’t a question of “Which codec”… it’s more a question of how can I design a workflow for handling this amount of media that makes sense, both economical and technical.
Good luck.
Mark
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It’s a artificial limitation in the RT Software Enabler.txt file. I use this old tip from the Blackmagic Design section to get PhotoJPEG to work in real time with my Decklink HD Extreme:
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“RT Effects for PhotoJPEG
by Sean ONeil on Aug 31, 2005 at 9:46:53 amI figured out a VERY simple tweak to give you RT effects for the Blackmagic – JPEG Easy Setups.
Contents>Resources>Non-Localized Settings>FXScripts>Enablers
Without giving away too many details, there’s an RT Software Enabler txt file somewhere inside the Final Cut application file. Back it up to another folder so you can always restore it later if need be. Now open it up (the real one, not the backup) in TextEdit. Inside there’s a section for OfflineRT (PhotoJPEG) surrounded in astericks. Below this are several self-explainatory lines for max width and max height allowed, which are currently set to 320×240 and such. Change these to 1920 and 1080 (or 720 and 486 – whatever). Change the max spatial quality to 800 or so.
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Contents>Resources>Non-Localized Settings>FXScripts>EnablersSEARCH for:
jpeg settings. Settings specific to jpeg go below here.
preferredSpatialQuality
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That’s it. It just works. The only prob is that FCP gives you a warning whenever you start up. Just make sure you have “Report Dropped Frames on ETT/PTV” checked.
I can’t stress how great this is. I have a regular gig that requires only simple dissolves. I had been capturing everything at DV and later re-capturing at Uncompressed. Now I can skip the re-capture process and just take the footage in at PhotoJPEG for offline and online.
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I don’t know why PhotoJPEG is still limited in FCP. It’s Apple’s own codec and current hardware has zero problems dealing with it.
cheers
check out my shorts: https://vimeo.com/marttiekstrand
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Hey,
Just came back to this thread, as we’re still facing this problem, im from the same company as OP
It’s an archive of 30 years, going back, from our production company’s shoots.
Im thinking dv50. As far as I know, we’ll only ever need to edit on mac, and we’re capturing through a blackmagic card. Our options are only dv50, jpeg, pro res and uncompressed. uncompressed is out of the question. by eye dv50 looks better in final cut, though i’m waiting on getting our monitor sorted out to se it properly.
this will take more than a year, this we have accepted…
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