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Workflow for LARGE edit shot on 7D and XF300
Hi all,
Firstly I wanted to say thank you to all the contributors to this great resource. I have often come here with a problem or question and this is the first time I have needed to post that question as previously I have already found the answers here.
But this is a bit more of a specific question…
So here is the scenario:
We have just returned from a 3 week shooting trip gathering footage for a new multi screen audio visual performance we are putting together. We had 3 7Ds and and XF300 and needless to say we have returned with a vast amount of data – nearly 2tbs before any transcoding.
Initially I thought I could bring the 7D footage (the bulk of the data) in natively and make an initial selection and then transcode only what is usable and work from there. But it has quickly become apparent that this isn’t going to work. I would be happy with slightly sticky playback at this stage but FCP is continually crashing.
And now I am a bit stuck as to the best way to move forward. These what I see as my options:
1. transcode everything into prores and buy lots of external drives.
2. Transcode everything into prores and find a better storage solution, ie a multi drive Raid.
3. Invest in Final cut sever and begin our edit process there in a more offline way.
4. Set up an offline edit through FCP.
5. Use log and transfer in FCP and trim clips to the usable bits.
My hesitation to pro res everything, apart from the amount of data and time, is because its very documentary i know there is a lot of bits where nothing is happening etc. It is also worth mentioning that it won’t be a traditional linear edit. After this initial selection and putting together some lose sequences, we plan to collage and composite a lot of our footage together in After Effects and other processes.
We are running FCP 7.0.3, OS X 10.6.7 on a 2×2.6 Ghz Quad-Core Intel Mac Pro with 8GB Ram.
Any comments or work flow suggestions much appreciated.
Many thanks,
Tim -
5 Replies
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What I’d do if I were you. Forget about Final Cut Server – it’ll give you no advantage since it’s too complex and requires lots of managerial wits. I’d buy/rent decent raid and transode all footage into ProPres Proxy. Why? Because you’re in documentary and never can be sure that this or that footage is not gonna and up in final cut. Secondly, working with Proxy this way lets you further the line re-ingest HQ material to make comps in After Effect. This is my opinion.
Free-lance fcp editor in Moscow
http://www.mokaeff.com -
[Tim Cowie] ”
2. Transcode everything into prores and find a better storage solution, ie a multi drive Raid.”That’s what you need to do. Or… try importing in an offline codec, then online…like this:
https://library.creativecow.net/ross_shane/tapeless_online/1
Be aware of issues with re-importing the footage. DO NOT change the directory of the source files after you import. They must stay EXACTLY the same if you want to reimport properly. Jeremy Garchow found this out.
[Tim Cowie] “3. Invest in Final cut sever and begin our edit process there in a more offline way.”
FINAL CUT SERVER is not an editing tool. It is a CATALOGING tool. It is very complex, and really not the solution you need.
[Tim Cowie] “4. Set up an offline edit through FCP.”
Oh…I mention that option above.
[Tim Cowie] “5. Use log and transfer in FCP and trim clips to the usable bits.”
That’ll take a LONG time. And as an editor, I know I want EVERYTHING. because what you might think isn’t useful in the beginning, might be the one thing that works best later.
Shane
GETTING ORGANIZED WITH FINAL CUT PRO DVD…don’t miss it.
Read my blog, Little Frog in High Def -
Thank you both. Shane – I finished watching your very helpful tutorial just before you posted your reply and that has shed a lot of light on how simple this is and I think it could be the way we go on this one.
I didn’t fully explain my reason for thinking of Final Cut server. I have been doing a little bit of research into it today, so I have a basic understanding of what it is used for. We have been talking about setting up a system that allows us to catalogue our footage in a searchable way that lets us use it across multiple projects. I am lucky enough to work at a company that has an incredible archive of footage but not very well organised so this would be the start of a longer process.
FC server creates Proxy files automatically from your footage right? Can you use these Proxy files for an offline?
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Sorry, I have FC Server, but never implimented it. I use CatDV instead at several work places.
Shane
GETTING ORGANIZED WITH FINAL CUT PRO DVD…don’t miss it.
Read my blog, Little Frog in High Def -
Tim, since you have cross posted this, I’m answering in the canon forum.I have the same two cameras. I would agree on transcoding to proxy, maybe rent or borrow multiple machines & just bulk it in compressor,
Is your work headed for cable, theatrical or just the web? I ask because I have started the process of working in competing nle’s to end transcoding for those projects that are’t going to need significant color grading, or green screen. I’ve got some nice results without the t.c. You might reconsider your nle now, while you have a chance.
That’s why I’m posting in the canon forum. I don’t want to seem like dissing the apple faithful. I have spent thousands on FCP workflow, but the transcode issue is problematic for documentary shooters and there finally are alternatives.
Best of luck, if you lived nearby, I’d be glad to rent you time on my machine.
Alf
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