[Barry Cohen]

I am not in front of the unit now but I seem to remember that the Blackmagic set up has to agree with the sequence set up in Premiere. That is they should both be 1080i or 720p and the frame rates should agree too.
I hope this helps.

[Barry Cohen]

That’s the feature I have been looking for. It is a necessary process in our workflow.

Project Management

[Barry Cohen]

Don-
Thank you for the response and detailed account of your switching over to Premier and Speed Grade. I am encouraged to hear of your success and the situation being so similar to ours.

[Barry Cohen]

Thanks Michael,

I really like the G-Raid products and recommend them all the time. I am impressed with the EVO drive system and will probably adopt that as our means of exchange (although they are pretty pricey for a single drive) it will save us a few hours a week I expect.

I will try to get our editors into good habits of consolidating media into a project/episode folder for accurate transport to the finishing station, habits need to be developed as you know.

Thanks for the response and sharing your experiences on the Forum.

[Barry Cohen]

Don-
Thank you for the response and detailed account of your switching over to Premier and Speed Grade. I am encouraged to hear of your success and the situation being so similar to ours. It really gives me a valuable insight into what we can expect and how to go about the process more effectively. We really are getting a picture on the Adobe Suite and what it offers us in our workflow. Having the G-Raid EVO drives will be a great benefit an time saving solution to moving projects across MAC workstations.

We really appreciate the Forum and you taking time to share your experiences.

[Barry Cohen]

Most likely Speed Grade would be the software choice for Color Correction, unless the built in Effects Tools in Premiere satisfy the variant needed to work on the show as did FCP 3-Way Correction and RGB effects as well.

However, the show is edited on a workstation across town the the project needs to get to another workstation not connected in any way for continuing the workflow. I am eager to hear of your ideas. I wish it was as simple as collecting all the material on a removable G-Raid drive now available and hand carrying it to the other workstation.

Thanks for your responses Shane and others.

[Barry Cohen]

It makes sense that if everything is copied to a folder and moved to another editing station, that the sequence would relink based on clip names and timecode like other systems. I would have to test this before committing to a system change.

I believe that does force the offline editor on the SAN to copy the media to an additional project folder on some system attached drive so that whatever he uses is transported to the other system of course. One of the things we were trying to do is eliminate having two sets of media ( one original-non edit codec and the other transcoded to ProRes 422) sitting on the SAN taking up space. I suppose we could design a workflow that copies the necessary media to a local G-Raid drive and either copy it from there or transport the G-Raid with each episode. We presently media manage the necessary material to a portable 2TB Western Digital Passbook type drive and copy it to a local G-Raid on the online station before returning the portable Passbook for erasure and reloading new shows on it again for transport.

What do you think?

[Barry Cohen]

Pro Tools is used for Audio Mixing, we export OMF and Reference video w/ TC Burn Window from FCP 7 and marry the stems back when completed.

Final Cut Timeline effects used for color correction and plug in’s. We do not go out to Color, or Resolve at present and have enough capability in FCP 7 with its own features. Using Adobe for more enhanced color in the Adobe Creative Suite will be looked at.

We need to be able to export a Sequence and it’s associated media and move it over to a remote location at the conclusion of locking the cut on systems connected to the SAN in only one location.

We have no issues at present using FCP 7 and are investigating if we can accomplish this work flow and share projects in this way by necessity.

[Barry Cohen]

I guess that pretty much rules out moving a project once edited from one media station to another that is off the SAN and located in another building?

We presently media mange a project and put it on hard drive to move to another building for finishing. The show is color corrected and sweetened on another workstation, any suggestions to accomplish this?

[Barry Cohen]

Morten,
Thanks for the response. That prompts an additional question.

You wrote:
“Also even though the Media Manager gives you an option to save a trimmed project, it does not work with all codecs, and cannot transcode to another codec in this process.”

We work in XDCam 422 and ProRes 422 8bit originated materials and intend to mix the media in our timeline to save time in transcoding before hand (like we do in FCP 7). Our hope is to 1. save storage space by not occupying two zones for an original file and one for the transcoded file before starting the project, and 2. work directly in mixed formats in the timeline to play out and view as well as send the project to Adobe’s transcode program (we use Compressor with Final Cut) to create an H.264 for client review.

Will I have trouble with this and then again when I want to Archive the project by Media Managing the clips used in the timeline?

Thanks for sharing your experiences.