[Adam Weinberg]

point taken .. i just didn’t want to type out every last detail of the shoot right off the bat, i knew no one would bother reading everything! 😛

all of your suggestions are great and would definitely be the ideal workflow, but there are other factors. the shoot is happening out of state, and dailies are going to need to be overnighted via portable harddrive back to post so that post can be working simultaneous with production. we have 10 portable harddrives (no more are within the budget!) and these do not contain enough space to allow for a transcode on set or overnight.

[Adam Weinberg]

wow, creative cow users sure like to make assumptions! 😛 the shoot hasn’t even happened yet (which is why i’m asking these questions now). the problem is, we can not transcode during the shoot as we do not have the budget to purchase a hardware transcoder.

there will be 40 hours of 5D footage so, no, it will not take a day.

[Adam Weinberg]

thanks. i have worked this way in the past with no problem .. but i also worked on a project with multiclips (where the multiclips themselves were comprised of both DVCPRO HD and ProRes) and it was very glitchy. ideally i would like to work consistently in ProRes or consistently in DVCPRO HD .. but i guess it’s not possible for this project as the transcoding time is not reasonable on our timeline ..

[Adam Weinberg]

just found this link:

https://philipbloom.net/groups/dslr/forum/topic/merge-panasoniccanon-mxf-files-to-prores-mov-to-final-cut-for-editing/

anyone have any experience with this program?

[Adam Weinberg]

shane: 😛

matt: thanks! exactly the response i was looking for!

cheers

[Adam Weinberg]

we’re not creating just one video with all this footage. but i appreciate the perspective.

[Adam Weinberg]

ha. no, not coming from an Avid background .. i’ve been using FCP for almost a decade .. i’ve just never taken on anything with 80 hours of media and want to ensure my workflow’s right from the beginning. and i understand that it’s the sequences that dictate the project size, not the media .. but in my case there is a strong correlation between the number of sequences and the amount of media..

1000 sequences may have been an exaggeration, but it will definitely be in the hundreds. i mean we’re doing 40 interviews, and each one will necessitate 10 to 15 sequences minimum before combining them all into a rough cut .. is that really unheard of? 😛 i’m just used to working with maybe 20 interviews @ 20 to 30min each, as opposed to this which is 40 interviews @ 1hr each.

anyway, i think the best solution will probably be the use of multiple project files each containing their own set of interviews ..

appreciate the advice!

[Adam Weinberg]

appreciate the feedback guys. this FCP proj will have hundreds if not over a thousand sequences .. have you found there to be a point (possibly measured by the file size of the FCP proj file?) where you should begin working in multiple FCP projects?

[Adam Weinberg]

haha, no worries! i know you field a ton of these and definitely appreciate the help!

[Adam Weinberg]

thanks guys. Shane, thanks but you must have skimmed over my post – adding reel numbers was the first thing i did. and Rafael, thanks .. i have watched shane’s tutorials and know to follow this workflow. when it is possible to.

when i can, i import 5D media through the EOS-E1 FCP plug-in so reels and TC are added right away. unfortunately, clients will often provide you with just the H.264 files and forget to include and throw away the .THMs or the full card directory structure, something that is obviously out of my hands and i need to make do without. this was one of those occasions.

because of this, i have manually added reel names. i am unsure how to manually add timecode; though i know it can be done, i have definitely successfully media managed 5D media before without manually adding timecode. reel names have been necessary, and in this case i have added them.