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CatDV and DSLR workflow
Hello all,
This has been kind of addressed in previous posts, but in a very general way.
I’m curious as to the specifics of incorporating CatDV into our DSLR workflow, as in “Step 1, Step 2, etc.” I can’t really find any examples/video tutorials.
I’d really like to have the functionality afforded in FCP Log and Transfer, setting in and out points, useful clip renaming, transcoding to ProRes, card folder as reel name, mouse-less workflow, re-importing footage at higher data rates, etc., available via CatDV.
Perhaps I’m missing something, but it appears that the way to transcode DSLR footage via CatDV would involve changing proxy preferences and there doesn’t seem to be a way to rename clips. Subclipping seems like a way to go, but again, how am I transcoding this and it seems like the automatic reel naming is no longer present.
Any help or advice would be appreciated.
Thank you for your time.
-Graham
OSX 10.6.8
AE CS5
FC Studio 3
Octo 2.26GB MacPro, 16 GB RAM -
1 Reply
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That’s a pretty deep workflow for a simple online discussion. For me, that’s more of a custom thing that we’d do for a client as a project since it’s so specific to the production and system.
Also, the minute you finish a video tutorial, it’s out of date due to the rate of development on this product.
Generally though, transcoding is done a few ways:
Export out of the Client. (you can use this instead of changing your proxy settings as long as you don’t need to place the files in more than one directory path.)
Have the Worker Node do the transcodes if it’s not a lot of footage or you have more than one Worker Node.
Have the Worker Node fire the transcode job in another system like a Compressor or Episode cluster or ffmpeg and then direct the files to the correct path.
So it’s really dependent on what gear and software you have. As far as the Standalone app goes, it’s harder because you don’t get to do the path mappings and media moves necessary to automate the creation and management of the ProRes vs. the h264’s from the camera if you intend to let those be “proxy” files as was discussed here.
In the end, most of my clients have chosen to make smaller proxy files so that they can be used in the web client, archive the camera masters and transcode to ProRes as needed for editorial from those masters off of the nearline storage.
Getting specific on here, especially with automations can be fraught with problems as people can do a lot of damage if they don’t know what they’re doing and if this is your edit media, there’s a lot at stake. If you need something deeper and you can’t or don’t want to figure it out, your dealer can probably help you or contact Squarebox or JB&A and they can refer someone to make it happen.
bryson
bryson “at” hidefcowboy.com
hidefcowboy.com
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