ProRes 422 Codec for AfterEffects???

[Doug Nash]

Thanks. We actually used Media 100 back then, too. Silly.

The annoying part of this equation, however, is that the client is asking to have the elements delivered in ProRes, because that’s how they’re working with everything.

[Doug Nash]

Perhaps. But I’ll wait for Apple to release a new Mac Pro before I give them any more business. I think for now I’ll give the client the DNxHD codec (being that I can) and deliver that way. They’ll still have to convert, but they said they don’t mind.

Out of curiosity, what do you use for making backups of your system? I was carrying on a thread elsewhere and the person said that they use Super Duper.

Thanks.

[Walter Soyka]

[doug nash] “Out of curiosity, what do you use for making backups of your system? I was carrying on a thread elsewhere and the person said that they use Super Duper.”

I use Carbon Copy Cloner, but the concept is the same — a exact, bootable copy of your system drive. If something goes wrong with the software install, you can boot from your good clone, and clone that back over the bad install.

For on-going data and project file backups, I use Time Machine. For media backups, I use Synk Pro over my network during off hours.

I also archive to hard disk and spanned Blu-ray disc, but I’ve been eyeing an LTO tape archive system for better peace of mind.

Walter Soyka
Principal & Designer at Keen Live
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
RenderBreak Blog – What I’m thinking when my workstation’s thinking
Creative Cow Forum Host: Live & Stage Events

[Doug Nash]

Thanks. Sounds comprehensive, and smart. I need to do a little more than I am now. But it’s a little tough to resolve, being that my average animation project takes up about 300-400 gigs.

You’ve got to spend a great deal of money to get a tape back-up capable of those capacities.

[Walter Soyka]

[doug nash] “But it’s a little tough to resolve, being that my average animation project takes up about 300-400 gigs. You’ve got to spend a great deal of money to get a tape back-up capable of those capacities.”

That’s exactly why I’m still eyeing them. The tapes are cheap enough — around $50 for 800GB — but the drives, controllers, and software are still pretty expensive.

[Dave LaRonde] “Not to mention a good deal of time. Tap backup is reliable, gut it’s S-L-O-W, slow! It’s one of those deals where you get it going, hit the hay and it MIGHT be cone in the morning. “

LTO4 ain’t your father’s tape backup. The uncompressed transfer speed is 120 MB/s — so it could transfer ProRes HQ at 3x real time. A lot of folks shooting tapelessly (P2, RED, etc.) are using LTO4 systems now to keep up with the the huge amounts of data they’re generating.

And the reliability you mentioned? That’s the best part! Confidence in your backups over a 30-year time frame…

Walter Soyka
Principal & Designer at Keen Live
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
RenderBreak Blog – What I’m thinking when my workstation’s thinking
Creative Cow Forum Host: Live & Stage Events