Alan Okey
5
COW Coins
2
DaVinci Coins
Forum Replies Created
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I’m not familiar with Final Cut Express, but if you need to reconnect offline media, you have two choices:
1. When first opening a project with offline media, when the “media offline” dialog box comes up and “” is highlighted, click the Search button and see if your system can locate the missing media automatically. If not, try clicking Locate and navigate to the directory where you moved your media. See if any files in that directory are highlighted. If you can’t find the file, skip it and go on to the next file. Once you have finished, check the browser to see if any clips are still offline. You can then right-click (or control-click) on the offline clip and choose “reconnect” to search for the file manually.
If you have moved all of your media for a given project to the same directory, once you successfully connect to the first offline media file, all subsequent files in that same directory will automatically be linked to the project as well. Once all offline media has been reconnected to the project, immediately save the project so that you won’t have to reconnect the media again the next time you open it.
It is essential to develop good habits with regard to media management in Final Cut Pro. Some tips:
1. Give new projects a name and save them before capturing any media. This ensures that when you begin capturing media, it will be saved to a folder inside the Capture Scratch folder with the same name as the project, instead of “Untitled Project.”
2. Be diligent about naming clips and reels (tapes) during the logging and capturing process. Try not to use “capture now” unless it’s absolutely necessary.
3. Once you start editing, if you rename any clips in the browser, make sure to also change the file name to match. This is accomplished by highlighting the clip in the browser, right-clicking (or control-clicking) and choosing “rename file to match clip.”
Being tidy with media management from the start will go a long way toward making your projects easier to manage.
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I assumed as much about the compute-intensive aspect of the process. I’m just curious about the math of it, how the original frames are extrapolated from the GOP structure. I assume that interframe acquisition always uses a fixed length GOP structure, but what exactly is the structure of HDV and XDCAM EX in terms of I, P and B frames? Are all three types of frames even implemented? Thanks in advance.
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[Mina Demian] “what is the proper procedure within FCP so I don’t break projects and render them useless? “
Use Media Manager to create a new copy of the project, duplicating existing media and saving to the desired location. Read the FCP manual section on Media Manager for details.
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[Rod Main] “Will it display interlaced PAL full screen”
In a word, no. Inexpensive LCD monitors can’t correctly display interlaced video.
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The Tangent Wave has a USB interface, which not currently supported by Color. Color only supports Ethernet interface controllers.
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Another great Bob Zelin piece on building an affordable SAN:
https://magazine.creativecow.net/article/build-your-own-affordable-san-that-iworksi
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Michael,
This is probably the best post ever on the subject from Bob Zelin, a true battle-hardened expert:
https://forums.creativecow.net/readpost/8/986858
Relevant quote:
“You want a central server. This is the #1 “can of worms” in all of your questions. Let me start off by telling you one thing – your school IT computer department knows NOTHING about shared storage for video editing systems, and if you get them involved, you will FAIL. You need a dealer or contractor that can help you, and if you won’t do this, get Apple Enterprise Group to assist you with a shared storage solution (they have a special educational division). I am not recommending Apple shared storage, but unless you can find someone that can help you setup a Facilis Terablock, EditShare, Apace VStor, MetaSAN, or similar shared storage solution, and teach you how to use these, you will FAIL. “
Video SANs are a highly specialized niche technology that require a depth of experience that is simply beyond that of most IT professionals. You owe it to yourself to get a professional SAN integrator on board to help assess your needs and plan out the best, most cost-effective solution.
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Also check out the CalDigit RAID card:
https://www.CalDigit.com/RAIDCard/
It’s a PCIe card that can create a hardware RAID using the internal drives of a Mac Pro. It also comes with a drive bracket that allows the addition of a 5th internal drive installed in the second optical bay of the Mac Pro. You can have a dedicated OS/boot drive and a 4-drive RAID-5 volume using only internal drives.
The RAID card also has three external ports that allow you to expand storage capacity by adding one or more CalDigit HDElement expansion enclosures.
The CalDigit RAID card is a great low cost option that leaves plenty of room for future expansion.
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Ben,
The CalDigit HDElement is ideal for your needs. It’s relatively inexpensive, it’s easily expandable and it’s a true hardware RAID.
Bob Zelin wrote a great post on this a while back:
https://forums.creativecow.net/thread/228/686
RAID-5 is the ideal RAID level for redundancy, capacity and performance.
There is no free ride. If your employer thinks $1500-$2000 is too much money for a safe, dependable storage solution, you’re fighting a losing battle. You can’t skimp on storage without it coming back to bite you in the future.
Other advice: Avoid LaCie products like the plague.
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You might want to check out XMEdit’s Traffic for complex workflows like what you describe. It’s a node-based companion editing application designed to expand the capabilities of Final Cut Pro.