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FCP Legend/FCP 10/Personal Use/Facility Use
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[Chad Brewer] “Back-up and delivery via the internet are two different situations at this point. Please upload a 4:4:4 RGB, feature length film with 12 channels of audio to Paris for a film festival this Friday. Good luck.”
2K ProRes4444 23.98fps 90 minute length is something like 230GB. That could fit on a small rugged HDD
FedEx can deliver it just as fast.
No need to add pull down either since it’s not going back to tape. No one needs to buy or rent a deck either.If you mean 16bit RGB it’s still 1.73TB and 10bit is 1.15TB
4k ProRes 4444 is a little over 800GB
All of this works on HDD.Granted the tape is an “archive” (more or less) whereas the file on an HDD is most decidedly not.
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Bottom line for me is that broadcast docos that I work on still have HDCam(SR) and digi beta as deliverables. Most international distributors and broadcasters here in Australia and Europe insist on tape. In the US Discovery and Nat Geo still have it as a deliverable on their contracts so much as I would prefer to deliver via ftp or on a small drive, my client gives me a deliverable sheet with tape required.
I honestly thought that I would never get my money back on buying an HDCam deck six years ago. In a way I hoped that I would be off tape by now but it just isn’t possible for me to go totally file based.
And Chad is right that there is work for capturing lots of tapes to files for future storage. My HDCam is about to be used for a week capturing in an underwater library shot on HDCam. I might use FCP7 or the Decklink capture software or I might go Pr as that is his preferred edit system.
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[Lance Bachelder] “the only reason tape delivery still exists is because guys who are still running G5’s refuse to give it up. “
hey look – some random guy drunk on merlot turned and decided to be bitchy. again.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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Easy to get personal when you’re thousands of miles away via the web. Why don’t you stop wasting so much time bitching here and go take a design class or 2 you hack.
Lance Bachelder
Writer, Editor, Director
Irvine, California -
Hey lovebirds, can we keep this on topic?
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Contact Apple Support? That’s how some people have still been able to buy upgrades for FCP 7, if the rumor was/is correct. You can always try?
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well, you are pretty random, you are awfully bitchy, and you do like your merlot apparently. remember the one where you were screaming about jazz and calling people “pricks”? that one was genuinely embarrassing to read. I nearly felt bad for you there.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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On topic, please.
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[Craig Seeman] “I don’t think FCPX losses that much with regards to tape.”
I does if your doing an offline/online workflow and you have 100s of offline clips in the timeline that are from tape.
In FCP7 you could essentially capture directly to the timeline. Doing this in FCPX would mean somehow getting an in/out/reel list (EDL) of what’s required and then capturing in a separate app. All these captured files would then need to be manually linked to the offline clips in the timeline.
Doing this in FCP7… easy… FCPX.. laborious!
John
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[John Heagy] “I does if your doing an offline/online workflow and you have 100s of offline clips in the timeline that are from tape.”
Assuming you brought them in ProRes, there’s no reason to go back to tape. For Offline you can edit ProRes Proxy and go back to whatever higher rez ProRes master format you used. Once you bring in the tapes as master files you can/should archive that. It’ll generally be a lot faster to retrieve that that trying to batch assemble from tape.
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