Aaron Neitz
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After Effects Coin
Forum Replies Created
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Yeah, but I’ve never had problems with any other codec using 8/10 bit output, regardless of it’s codec bit depth. but if that’s the issue, then that’s an easy fix!
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ah, think i was typically in 8 bit. 10 bit seems more stable. i’ll run it for awhile. Is this a particular issue with ProRes?
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ok. let’s step back. never, ever,ever run unprotected drives without a chassis outside your computer. god forbid sitting out on top of your G5. You’re drives are guaranteed to fail.
Those drives run hot as well – they need fan cooling.3.5TB of footage is about 70 hours of stuff. obviously this is a big project that someone is sweating blood and tears to make. do everyone a favor and tell them they need to spend $$ on proper storage. What kind of budget do you honestly think they’ll let you work within?
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Also any layers or clips you have Hidden or turned off in your timeline will have to be “rendered” when you ETT. Even though the clip has no bearing on your output, FCP spends time “rendering” it.
I love to keep a strand of the rough cut on a high video layer, turned off, for reference. little did I know that was causing enormous renders at ETT. I thought FCP was doing a a mixdown or something. Now ETT is nearly instant.
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[JeremyG] “Actually, we are a a team of mechanics that specialize in foreign cars. We just like AJA products so much that we decided to give editing a whirl.”
Oh, that’s a good laugh. We decided to give editing a whirl!
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FCP won’t do alphas like you want. You need to pull the Key in After Effects or similar, and then you can render to Animation codec + alpha.
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Not sure. I know that After Effects (for instance) clips the file on import. I wouldn’t blame them too much – it’s kinda assumed if you’re working in QT you’re probably only doing work for video output. Most DI processes go DPX, and then you’re in a whole different ballgame.
Perhaps if you export Animation codec from FCP. It shouldn’t have the 16-235 limits that video codecs assume.
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Not sure about Motion… but I do know Shake, After Effects, Combustion….etc always clamp DVCPRO-HD at 100 white. It seems only FCP has super-white overrides.
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I wouldn’t say I’m misrepresenting Gefen – but perhaps we’ve been blessed to never get a lemon. But it sounds like you have much more history with them.
FYI: Avocent DOES make a DVI with integrated fibre optics that Autodesk ships with it’s Flame systems. Works great – about 100′ runs. Personally I’m all about DVI over fibre versus the Gefen DVI booster with their “special grade” copper. Less things to plug in, less clutter, happier world.
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you say Uncompressed, but then DV. Uncompressed 8 bit footage can EASILY eat up 20GB in no time. Make sure you’re exporting as DV