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FCP Legend/FCP 10/Personal Use/Facility Use
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[Craig Seeman] “Assuming you brought them in ProRes, there’s no reason to go back to tape.”
The media required to fulfill the online timeline only exists on tape. It was never a file. This scenario is not a FCPX-FCPX offline/online but an Avid-FCPX.
John
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I think a G5 is ok to work with, and I don’t think its right to make pointless snyde comments about it. that formed my reply to mr. merlot.
but as you say.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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[John Heagy] “The media required to fulfill the online timeline only exists on tape. It was never a file. This scenario is not a FCPX-FCPX offline/online but an Avid-FCPX. “
So you offlined in Avid and you’re conforming in FCPX?
In any project one should have forethought about the entire workflow.
One could certainly digitize in ProRez (or DNxHD) and have file based source.I must say I’m impressed that you thought FCPX would be more worthwhile to conform in than Avid. I guess that says something.
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[Craig Seeman] “So you offlined in Avid and you’re confirming in FCPX?”
The key word in my previous post is “scenario”.
[Craig Seeman] “In any project one should have forethought about the entire workflow.
One could certainly digitize in ProRez (or DNxHD) and have file based source.”The whole benefit of offline/offline is to have access to far more media when working offline. The online conform is meant to only bring in what’s necessary. What your suggesting really guts any offline/online efficiencies.
[Craig Seeman] “I must say I’m impressed that you thought FCPX would be more worthwhile to conform in than Avid. I guess that says something.”
It’s says don’t want to replace our 1.2PB of Xsan with Issis!
John
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[Craig Seeman] “In any project one should have forethought about the entire workflow.”
Well, yeah, in an ideal world or one in which one editor/one post-house/etc. is in sole control of the process and the decisions to be made from project start to finish.
A facility like ours or say Michael Gissing’s in Australia have the variety of NLE’s on the market sometimes playing somewhat different roles than simply for the creative work that is largely discussed here. We have the countless scenarios where a producer or director (not editor) comes to us with a project file from who knows when, from who knows where, and 5 boxes of videotapes that comprised the edit 10 years ago, and says, “Can you put this back together? I’m re-purposing some work…Or updating me reel…Or I have a gold-mine of valuable footage I shot in the 1980’s – it’s on 1″ tape ONLY, but the content still has the ability to possibly generate hundreds of thousands of dollars in future revenue in some way, because it’s footage for whatever reason that can never be re-created.”
That’s part of the reason I wanted to introduce a discussion about FCPX and its future from a facility’s standpoint, not just a creative editor’s standpoint because FCP7 has had and still does have, entire facilities built around it – and of course it’s EOL now, but still works like a charm….For now…But we can obviously only say “for now,” right now.
It’s quite possible John Heagy had no control of this particular project he was mentioning until it was handed to him from someone/somewhere else. These very common situations of having to “un-earth” or “repurpose” or “pick up on in the middle of” old or new projects and the necessity to be able to do so for many years is a point Jeremy Garchow talks about a lot here and is crucial for him and his clients and I’m sure is for many others. My guess is he still pulls one of his own DVCPRO HD shoot tapes now or then to get that one shot he knows they got years ago, but never needed until now. He’s “got it like that.” Jeremy has the very deserved power to have a lot of control of his entire workflows.
It would be ideal for every project’s workflow to be determined at the start and then adhered to until completion, but for some editors and MOST of us video facilities, that’s a luxury we are treated to like, only when there’s a full moon, or the stars align, or we are having one of those “it can’t be this easy” type days which aren’t that often.
Chad Brewer
Senior Videotape Operator
TeleVersions, LLC – Chicago -
[John Heagy] “The key word in my previous post is “scenario”.”
Of course one can create illogical workflows and say “there, look, it doesn’t work”
[John Heagy] “The whole benefit of offline/offline is to have access to far more media when working offline. The online conform is meant to only bring in what’s necessary. What your suggesting really guts any offline/online efficiencies.”
If you’re talking 1999, yes. Generally Offline/Online means using some sort of proxy file and then relinking to a master file in 2013.
[John Heagy] “It’s says don’t want to replace our 1.2PB of Xsan with Issis!”
You don’t have to change a facility to have an individual Avid work station for an individual job. That might have been an issue when an Avid MC cost $60,000 but the price is a bit lower now for the software and an appropriate Video Card with Deck Control. I’d say “rent an Avid” but I’m not sure if that’s worthwhile given how low the software purchase price. Heck if you think Premiere Pro CS6 can do the job you can certainly “rent” the software and give that a go.
Sorry but coming up with, what I consider, a convoluted situation and blaming modern software for not being able to batch assemble something from another NLE using an old workflow, sounds like poor decision making. I can’t read the EDLs from my 8″ floppies either.
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[Chad Brewer] “have the variety of NLE’s on the market”
And you can buy the software for each dirt cheap. You may not even need to buy a new computer. Petition the hard drive or have separate boot drives and you’re good to go.
[Chad Brewer] “e have the countless scenarios where a producer or director (not editor) comes to us with a project file from who knows when, from who knows where, and 5 boxes of videotapes that comprised the edit 10 years ago, and says, “Can you put this back together?”
Good that you have a way to read an 8″ floppy with an EDL on it or the punch tape going back a bit further. Of course you have a Quad machine around as well.
If you’re expecting a variety of work you get the gear to support it. You don’t expect modern gear to handle older formats and workflows beyond a point.
If you can capture off tape with time code and have an EDL you can even number match hand confirm. I’ve done it.
If you expect an Avid job coming in, the software is dirt cheap these days compared to the $60,000 plus it cost a decade or so ago.
Sometimes you need to keep old gear alive if that’s something your facility needs to address. I’ve experienced this first hand since I’ve worked on 2″ preservation projects (funny they how D2 looked like a good decision at the time!) and old 1/2″ reel to reel video (what a bear given the number of formats and decks).
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[Aindreas Gallagher] “I think a G5 is ok to work with”
I like that you picked up on what I was saying, Aindreas, and noted the “hardware snobbery” that was expressed in another post.
My post and thread title were stating I have a G5/FCP6 for home use. And yes, they aren’t cutting edge any more, but still respectable machines nonetheless as you say.I work with a whole big gang o’ Mac Pros and the like at work, just can’t afford one for myself.
Chad Brewer
Senior Videotape Operator
TeleVersions, LLC – Chicago -
[John Heagy] “Doing this in FCP7… easy… FCPX.. laborious!”
Once you get the EDL or batch list, or whatever it is, AJA VTR Xchange v5.2 will capture that straight to an Event.
Still not quite seamless, but it is less laborious!
Jeremy
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[Craig Seeman] “Of course you have a Quad machine around as well.”
I got past your sarcasm, but how’d you know the one VTR we don’t have? Honestly, we get calls twice a year, every year now from some poor souls desperately trying to find a Quad in service for some tape they hold to be precious still.
[Craig Seeman] “If you’re expecting a variety of work you get the gear to support it. You don’t expect modern gear to handle older formats and workflows beyond a point.”
Yep. For a place like the one I work at, it’s a must. We have to be ready every day for a very large client based with broadly disparate needs.
Everything here is in service and used everyday believe it or not:
https://www.televersions.com/formatsArchiving has become and will continue to be a really big deal in terms of videotape libraries and content. I’ve seen since the creation of the Apple Pro Res codec that due to it’s efficiency and manageable file size it has been making many tape archiving jobs a reality, instead of an overwhelmingly complex and expensive wish.
Chad Brewer
Senior Videotape Operator
TeleVersions, LLC – Chicago
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