Aaron Neitz
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After Effects Coin
Forum Replies Created
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Walter’s 100% right. buy the fastest box you can now and put in Kona 3. Kona 3 is on top of it’s game and there’s nothing really else you could do that would impact how future-proof that hardware is.
Anything Apple does on the software front, if they do anything at all, will run great on today’s top end gear for at least a couple years. (all speculation of course, but common sense)
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Like others mentioned: a Kona 2 or a X version of Kona 3. I incidentally did an entire feature length 1080 uncompressed online on my old G5 with a $300 Blackmagic HD card. No frills, but it worked.
Storage is your biggest problem. You’ll need a hardware raid solution that can handle uncompressed 1080/10bit/24p. There are a million options – look into G-Technology or Dulce. I’ve had very good experience with both units. The G-Speed ES would work with your existing eSata card and provide just enough speed for Uncompressed HD.
They will have cut in 30fps. Use Cinema Tools to translate that EDL into 24. Hopefully they were mindful about naming their tapes during capture.
Make them pay for your new goodies. They may be “out of money” but if they want an HD master then it’s not free. There’s money somewhere.
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I recently worked on a 1080 video that had multiple 4K and larger stills. I’d get the memory error too. Try rebooting and closing every sequence except the one you’re rending.
FYI, FCP can’t use more than 2.5GB of RAM. It’s limited by old code.
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I’m actually saying tape is faster. Not RED. RED is a lot more like shooting film: once you’ve exposed the negative, it needs to go into the lab for processing and dailies. There’s a lot of “sitting around processing” RED files before you can really start editing with them.
Frankly if you’ve never worked a RED job before and this is what the team decides to shoot, you really need to get a camera in hand, shoot a bunch of stuff, and practice the RED workflow. It’s really cool, but it’s got a ton of idiosyncrasies that you need to be accustomed to.
I highly recommend NOT letting someone else do your quicktime conversion. Everything can and should be done by the editor (or his assistant) with RED. This includes the re-conform to 2k RED after your edit is done. I’ve worked at a large facility where we processed RED into AVID quicktimes and then tried to re-conform 2k RED from AVID EDLs…. a disaster. We ended up eye-matching everything.
Like I mention, get your hands on a RED and play with it before starting the real project. A lot of people on the forums here and on the RED forums can help you with the learning curve.
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In a purely workflow discussion, tape based is still simpler IMO. You digitize to whatever codec you want/need based on the size of your editing drives, you can name all your incoming clips whatever you want vs. hand naming clips that come in from RED, digitizing from tape is typically faster than processing RED, and re-conforming to full HD is pretty straight forward.
having said all that, if you’re comfortable working with the new FCP RED workflows, it’s a pretty awesome way to work. But there’s a lot of places where you can miss something or skip a step and cause massive headaches for yourself down the road.
really the decision should be: what camera’s look will be best for our delivery and production schedule? made for youtube movie? TV? Theatrical? Shoot some tests with both cameras and get them displayed in their ultimate delivery format.
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in finder add the hard drive to your sidebar… then final cut can see it
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thanks for the link Bob! I had navigated to their “bulk cables” then “fiber optic” and it was empty. Bad web design I guess.
I don’t know how to tip fiber, and researching how to do it proved that we need to hire a professional for tipping.
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I don’t know if it works properly in FCP 6 yet.
We used to do “A” frame pulldown removal on our dailies in 5.1.4 all the time. We even edited an entire feature – zero problems.
But when we first started using FCP 6 there were some issues – like in RT you’d see the right frame, but when you hard rendered it rolled your clip’s sync around. I think it had sometime to do with the timecode still referencing it’s 30fps source.
that’s when we started using Compressor. Which works great but is a much slower process.
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Try rendering those clips first. It’s doing an RT downconvert which is going to look dodgy (but it’s in real time!)
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Precisely. Rending at home on the laptop, bringing those Quicktimes into studio, adding them to the project. If I do any tweaks in the studio to the AE project file, they render out with different gamma than the laptop did.