Massive Amounts of XD Cam files

[Tom Daigon]

Thanks Mark. Could you clarify somethings for me? When you say..

“we employ the classic “Off-line to on-line” workflow”

does that mean you log and capture XDCAM material using it like a tape playback unit (which would allow
a unique library number to be assigned to each disk for later redigitization at high res) or do you use the Sony software to injest clips .
The part Im not clear on is how you can edit in low res then redigitize in high res. Do the clips metadata
allow you to assign reel numbers to each disk allowing you then to access the unique timecodes for each clip when its time to go high res? Its this match back process that is so easy with the tape work flow that is confusing me with XDCAM.
Tom

[Walter Biscardi]

[Wayne Carey] “Being a P2 shop, I could understand fully your reasoning in this. You had a bad time using XDCAM and we had a bad experience with P2 in ours… so its all in our regular workflows that makes the difference. “

We’re not a P2 shop, we’re a DVCPro HD shop with all tape based acquisition. We’ve done precisely one P2 project in four years of HD. I said I like the P2 method of never recording the same file twice, period. Sony should look at that.

As I’ve already said several times on this thread, we’re moving to the EX-1 / EX-3 for a new series we’re doing. That’s XDCAM, but without the large BluRay disc cassettes that caused all the issues with this other shoot. I absolutely will not purchase any XDCAM / BluRay equipment for this shop because I see no reason to. I will, however, support the EX1 / EX3 workflow.

Not sure what else to say. if you’ve invested money in the BluRay Cassette deal, fine, but I’m not wasting my money on something like that. Seems already outdated. I’ll stick to the solid state stuff and move on from there.

Walter Biscardi, Jr.
Biscardi Creative Media
HD and SD Production for Broadcast and Independent Productions.

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[Jeremy Doyle]

Those camera’s weren’t set up proper if everything started at C0001. I know that is the default, but all you have to do is go into the menu and change it. For instance when I go on shoot I’ll have set it up something like 08DRY 0001. Once you set this, each time you put a disc in it just starts where the last one left off. So the second disc might start at 08DRY 0157.

It’s really quite simple and makes it really easy to find which disc is which especially when people don’t label the outside of the discs very well. (which I am very much known for).

[Mark Raudonis]

Tom,

We do NOT use log and capture. Rather, we use the Sony software in FAM (File Access Mode) to COPY the files from the disc to our X-SAN shared storage. This part never even touches Final cut pro. We have a “tried and true” numbering system so that each disc gets it’s own unique number. I’ve written about it before, so quite simply it’s SHOW INTITAL/Date/Camera/load: RW815A01

The “classic off-line to on-line” works like this. These Full resolution clips are then “recompressed” in compressor to create “Off-line RT” media. This is what we edit with. Once picture is locked, we then
take the locked sequence and media manage it to create “off-line clips” with handles. Then, using a deck like the sony FDW-F75, we batch digitize the off-line sequence. FCP will ask for a reel number, but it will then find the correct clip based on timecode. This process is a “play video” workflow, and unfortunately not file based. However, the cueing of the XD-CAM is much faster than a tape, so it does go quicker.

I hope I answered your question.

mark

[Steve Cohen]

[David Roth Weiss] ”
XDCAM HD at 35mbps is only 15.31Gb per hour and at 25mbps it’s only 11Gb per hour.”

David;

Forgive me, I’m just about to get my feet wet with XD Cam and I’m trying to get somethings straight in my mind.

The files sizes that you have are in the XD Cam codec, doesn’t it still have to be put in a QT wrapper or something.

Someone suggested bringing it in as Apple Pro Res 422 which would be 32GB at 1280 x 720 or 47GB for HQ for the same hour of footage.

Also what is the best work flow for editing in SD (for right now) with this footage do I still need the Sony App to bring it in or has FCP (6.0.5) incorporated that into the log and transfer.

Thanks;

Steve Cohen
Senior Editor
O2 Media Inc.

[Mark Maness]

When working with XDCAM HD or IMX, having the Sony Transfer program is an absolute must with Final Cut Pro. That is if you want to work “natively”. If your looking to log and cature everything, you don’t need the Sony software.

_______________________________

Wayne Carey
Schazam Productions
https://web.mac.com/schazamproductions
schazamproductions@mac.com

[Jeremy Garchow]

[Wayne Carey] “When working with XDCAM HD or IMX, having the Sony Transfer program is an absolute must with Final Cut Pro. That is if you want to work “natively”. If your looking to log and cature everything, you don’t need the Sony software. “

I’ll mention it again, but you should definitely look at mxf4mac.com and check out the QT Import v2.

Jeremy

[Steve Cohen]

Jeremy;

I don’t recall you mentioning this to me before, but I will definitely look into it further.

I asked then for a demo and we’ll see what happens.

Have you personally used it?

Thanks;

Steve Cohen
Senior Editor
O2 Media Inc.

[Jeremy Garchow]

I use it daily with P2 footage, and if it works just as well, it is a very nice option.

I haven’t tested with XDCam as we don’t get a lot of material in that format.

Jeremy

[Steve Cohen]

Thanks again;

I’m definitely going to look into it.

Steve Cohen
Senior Editor
O2 Media Inc.