ARRIRAW offline editing workflow with AJA Kona 3 and FCP

[Carsten Orlt]

Not sure about the 24Fps bit, but I just converted HDV 1080i50 to DV using compressor and same timecode – no problem.

So I would do a simple test.

Make a project with some clips. create a little seq with some cuts.

Close FCP. open compressor. put the same clips into compressor choose the codec you like, choose a dif folder (naming options area up to you, but be aware that when you relink in FCP you have to know what is the clip that FCP wants) – and submit.

Open FCP, highlight your clips and your seq and select relink, point to the folder with the converted clips and it should be all peachy.

worked in my case without problems.

Carsten

[Gary Adcock]

[Kareem Farooq] ” I need to somehow fit the footage onto 4TB of space. The footage is averaging about 250GB/day, and it’s already the 4th day of an 18 day shoot. I have little time to solve this issue. “
then you need to be working in DVCPROHD to get higher compression on the HD side.

[Kareem Farooq] “their answers were get more hard drive space because ARRIRAW was designed to be cut offline in HD and AJA is unable to down convert footage at “true” 24fps. AJA told me their products are mostly used for broadcast, not filmmaking, which is why I only have a 1080spf 24fps capture option. “

firstoff— the S,two recorder can handle arriraw, but FCP and the AjaCards do NOT- there is NO RAW workflow for the arri codec from the d21 camera. I work with both companies and all 3 products regularly and the capturing from the Idock is the best way to handle the footage.

NO ONE FROM AJA would Tell you their products are not used in the film industry- your dealer may have,. but AJA products have been used on literally hundreds of movie sets – and even for finish of a number of movies recently such as “No Country for Old Men”, “Alien vs Predator” and specifically with Arri d20 captures for “The Bank Job” and award winner at the Dubai and Sundance film festivals “Capt. Abu Raad”

I am quite sure that the cost of more storage is far less the the weekly rental of the D21 package (with accessories and lenses that could easily be 10x your cost for storage.

If you quoted the project and did not take the shear file size into account that is your mistake,you can save disk space by capturing at 720p for your offline instead.

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows
Inside look at the IoHD

[Kareem Farooq]

It never surprises me how pretentious and arrogant people in this industry are. Thanks for attempting to belittle me and blame me for my production’s issues, but you’re assuming I had a say in what equipment was purchased. You are wrong. You are also wrong about importing at 720p because there is no 720p option that is true 24fps, I’ve tried many different importing options, and I get dropped frame error with all except for 1080spf 24fps, which is why I have to import at HD quality.

I realize AJA makes great products that have been used in many films. Duh. This is a low budget film that has gone above its means, and I’m asking specifically if there is any way to compress the footage I have captured, then make the clips in Final Cut offline, reconnect them with the compressed clips and still somehow maintain the original clips’ timecode. If you have an answer to that or any real advice, I welcome it. Otherwise, please avoid thrusting your arrogant negativity upon people who just want to make a movie.

[Stephan Walfridsson]

Have you tried using media manager in FCP to recompress your footage? Set media manager to recompress your media to the format you want ( I guess DVCProHD). Media manager will then create a new project with all your (selected) sequences and clips at the new resolution and format. And timecode should be retained as well…But make a small test transfer first to make sure.

Stephan