[Adam Smith]

[Shane Ross] “As to “duplicating the footage,” you can’t think of it that way. The original backup are your source tapes…think of them as such. Then the copies you have on your media drive are your working copies. Just like you have tapes and footage captured from those tapes.”

Actually I offload with verify to a firewire drive and then copy from there to my P2CMS database, and from there to my RAID for editing and to a VXA Packet Tape drive for lasting backup… =)

I still want to develop a good workflow for backing up without P2 media, but at this point I’ve not even looked at Media Manager and now that I think about it… I haven’t even watched the Archiving chapter on your Getting Started DVD yet!

Thanks much!

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Video Photographer / Avid Editor / Final Cut Neophyte

[Adam Smith]

One question since it’s the kind of thing I’ll run into eventually since I also shoot on P2 (same camera!)….

Most projects I do will be P2 footage as the primary (often only) source of footage, and as I’ll be backing that footage up anyways, is there a recommended means of backing the project without duplicating storage of the P2 source media?

And… I plan to soon use Raylight to access P2 footage directly, does that change anything as far as backing up?

Thanks!

-Adam

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Video Photographer / Avid Editor / Final Cut Neophyte

[Adam Smith]

[walter biscardi] “‘m surprised you can even get this to work as the Avid codec has led to a host of issues including unstable systems when they are installed on FCP systems.”

Ah… well I guess I’m lucky so far then!

I’m generally only talking about 2-3 quicktimes, and often those are only for reference as I output effects as alphaed-quicktimes for the Avid, so my biggest issue is the 601 color.

I can start outputting RGB uncompressed quicktimes at work, and bring my firewire drive in instead of the thumb drive, that seems to be the best answer so far… but as an overall generic non-Avid-tinged question, how do you compensate for 601-color source files in FCP?

And if I have a clip that unavoidably does not match my timeline and I’m a FCP noob and keep accidentally un-rendering it, is a pass through Compressor the best bet or maybe render once in the FCP timeline and then import and work with the rendered file? (For these types of things, timecode is not an issue.)

Thanks much to you both Richard and Walter!

-Adam

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Video Photographer / Avid Editor / Final Cut Neophyte

[Adam Smith]

Ahh gotcha.

Well I’m not really switching systems mid-project, generally I’m importing a quicktime of an edited project and adding some fluff from the comfort of home… or in this case, using the Avid to digitize and then doing the chromakey work here.

So no complicated translations of timelines, no recreating effects (and no Automatic Duck needed), I just need a good game-plan for importing 601 color movies and trusting what I do will match again later.

As there’s no FCP import settings or Interpret Footage command I’m not sure what to do… do I just trust FCP to get it right when it appears to be getting it wrong? Manually adjust levels to compensate?

Of course I can export from the Avid in RGB color, I’d prefer to know either way.

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Video Photographer / Avid Editor / Final Cut Neophyte

[Adam Smith]

B>[Richard Harrington] “While you COULD work around these issues… you are making a TON of extra work….”

Well the point of my post was to get help in avoiding workarounds, or finding the most efficient ones possible, so if you’ve got something in mind, speak up!

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Video Photographer / Avid Editor / Final Cut Neophyte

[Adam Smith]

Are you sure it’s a problem with the camera and not just progressive scan footage?

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Video Photographer / Avid Editor / Final Cut Neophyte

[Adam Smith]

5400rpm is about the slowest drive you can find these days, and while some people get by with USB drives for video work, the manner in which the data is transferred is not well suited to streaming files such as video.

It sounds like it’s working for you so far, but I wouldn’t trust it.

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Video Photographer / Avid Editor / Final Cut Neophyte

[Adam Smith]

Progressive or interlaced, and what frame rate? Set the camera to a 60i (30i) format and see if does the same thing.

I haven’t noticed anything unusual with my 500’s viewfinder, but give me your settings and I’ll compare tonight if you like.

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Video Photographer / Avid Editor / Final Cut Neophyte

[Adam Smith]

I picked up the Exabyte VXA-2 a few months ago… it’ll put 80GB (160 compressed) onto one of the big tapes. The VXA-320 can do twice that on the same tape, but for some reason it wasn’t an option for me, coulda been $$$-related!

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Video Photographer / Avid Editor / Final Cut Neophyte

[Adam Smith]

Ok, so is there some reason why he can’t shoot at 60 and then drop frames down to 24?

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Video Photographer / Avid Editor / Final Cut Neophyte