-
Got BVAP folder, I don’t..
I’m getting ready to do a multi-cam XDCAM EX1 project and have never dealt with XDCAM EX 1 footage or the BVAP folders. I’ve done my research and know enough to copy the entire folder and keep the file structure the same, etc. This is a multi-cam event type coverage, on-location, 3 days and will net about 60-hours footage, I need to reduce the amount of footage prior to importing to ProRes.
I’m testing out editing workflow working with 60 hours footage from 3 -XDCAM EX1 cams, 1-Z1U and 9 – GoPro rigs. I need a BVAP folder with some footage, do you have a BVAP folder you can email me, or is there something on the web already?
I’m considering using Sony Cinemon witH FCP to instantly load, view and edit with the BVAP files. Once I do simple cuts only to reduce the amount of media I’ll media manage that to ProRes. This workflow should streamline the workflow and allow me to skip making XDCAM files, then several TB’s of ProRes and reduce the amount of storage significantly.
Has anyone used the Sony Cinemon plug in or tried the workflow I described. Do you have a BVAP folder with some media I can use to test my workflow.
Michael Harrington
Mac Pro, Dual Quad-Core Intel Xeon 2.66 GHz, 12 GB, FCP7, Snow Leopard, ATI Radeon HD 4870, 30-inch Cine Display, 4 – 1TB internal, 1.25TB Esata, Numerous FW 800 external drives, MX02Max, FSI 17″ Broadcast Monitor, Black Magic Mini Sync Generator, Mackie 1402 & Event 20/20 monitors. -
8 Replies
-
[Michael Harrington] ” prior to importing to ProRes.”
Just don’t convert to Prores.
No reason.
Don’t miss Shanes’s Ross tutorial on Tapeless Workflow.
rafael -
OK, I watched Shane’s tutorial and I’m hip to the ways of archiving tapeless and importing footage, nice refresher course.
What I’m concerned about is the amount of footage, 50 – 60 hours of XDCAM EX plus some HDV and lots of GoPro footage. The final timeline will have several layers, graphics to composite, dissolves, effects, color correction, etc. The good news is I do not have to output to tape although I do need to deliver Hi Res QT for broadcast, texted and textless, mixed and unmixed.
Are you recommending I edit the XDCAM without converting it to ProRes? I like that thought but everything I read recommends differently, the amount of footage, mixed formats, complex edits, etc.
I’m considering using Sony Cinemon to view and simple cuts only the XDCAM EX footage, then batch that to ProRes to add effects, dissolves, color correction, etc. So far I can’t find anyone to comment on using Cinemon with long-form workflow?
Michael Harrington
Mac Pro, Dual Quad-Core Intel Xeon 2.66 GHz, 12 GB, FCP7, Snow Leopard, ATI Radeon HD 4870, 30-inch Cine Display, 4 – 1TB internal, 1.25TB Esata, Numerous FW 800 external drives, MX02Max, FSI 17″ Broadcast Monitor, Black Magic Mini Sync Generator, Mackie 1402 & Event 20/20 monitors. -
Hi Michael,
I work almost only with XDCAM (EX, HD422) and I always edit native in a Prores sequence (then render in High precision).
In terms of quality the final results will be the same converting or not.
I do not deny that in cases when you have to deal with few layers footage, or you are working on a computer with no much performance, Prores (as any other I frame codec) converting may simplify things.
If you don’t feel too safe on this your first XDCAM project, go the Prores way (is all about storage space). You can explore editing native later.
rafael -
Thank you.
To reduce storage space for ProRes I’m considering using the workflow I discussed earlier and hoping to find someone with experience using Cinemon plug in to further speed up the process.
Anyone with Cinemon plug in experience using the workflow I described earlier?
Michael Harrington
Mac Pro, Dual Quad-Core Intel Xeon 2.66 GHz, 12 GB, FCP7, Snow Leopard, ATI Radeon HD 4870, 30-inch Cine Display, 4 – 1TB internal, 1.25TB Esata, Numerous FW 800 external drives, MX02Max, FSI 17″ Broadcast Monitor, Black Magic Mini Sync Generator, Mackie 1402 & Event 20/20 monitors. -
[Michael Harrington] “Anyone with Cinemon plug in experience using the workflow I described earlier?”
You should ask in the COWs “SONY XDCAM” Forum.
I think you may find some info (SEARCH).
rafael -
I just wanted to pop in to say that I agree with Rafael. You can bring in all the sources native (well, GoPro needs to be converted to an editable codec), and all you need to do is use a ProRes timeline. This will ensure that things play nice, and render out in a better color space.
Whenever I am faced with a project shot on multiple formats, and I lack the time/space to transcode, that is what I do. Works great.
Shane
GETTING ORGANIZED WITH FINAL CUT PRO DVD…don’t miss it.
Read my blog, Little Frog in High Def -
Thank you, Shane and Rafael.
Still waiting to hear about Sony Cinemon, maybe dodge the whole import to XDCAM thing. My assistant editor posted similar question on XDCAM forum and so far only Sony Rep responded. Many years in this business has taught me to Trust but Verify.
Come on FCP users, anyone try Cinemon with workflow I described earlier.
Michael Harrington
Mac Pro, Dual Quad-Core Intel Xeon 2.66 GHz, 12 GB, FCP7, Snow Leopard, ATI Radeon HD 4870, 30-inch Cine Display, 4 – 1TB internal, 1.25TB Esata, Numerous FW 800 external drives, MX02Max, FSI 17″ Broadcast Monitor, Black Magic Mini Sync Generator, Mackie 1402 & Event 20/20 monitors. -
Don’t know about the Cinemon plug in , but I agree with Rafael and Shane about working with XdCAM natively. If your drives can support the multi streams and you’re using an Intel computer (NOT G5), then this is definitely the way to go.
The key is to set renders to PRORES, NOT “same as sequence”.
Mark
Reply to this Discussion! Login or Sign Up