Bill Bilowit
Forum Replies Created
-
I read about it earlier this year on MacNN; one seems to be available now, as an internal.
Below, this listing says it’s OS 10.2 and higher compatible:
https://www.datamediastore.com/panasonic-read-write-dual-layer-blu-ray-sw-5582.htmlBelow, a Mac equipment site:
https://eshop.macsales.com/item/Panasonic/SW5582BK/ -
It’s been recommended on this forum to keep at least 20% of your internal drive freed up. I have used Firelite bus-powered drives for years and they have been very reliable. G-Tech makes a 250GB bus-powered drive that also has firewire 800.
An important issue to consider: bus-powered drives are usually 4800-5400 RPM and may not perform as a proper scratch drive with FCS for editing and playback.
Also, USB is not recommended for video edit/playback, so keep it all in the firewire world.
-
Shane said: “On the next show (or series) I intend to test out the ProRes workflow (sheesh, why not do that now?) and see if I can’t get that to go away. I know that it is a perfectly viable option.”
Hmm, I have a MacBook Pro with a pair of G-Raids; with DVCPROHD 1080 that system already renders faster and displays some FX, color correction and filters better than my Dual G5 with fibre RAID.
What I have yet to experience is how much horsepower it really takes for a 10-bit ProRes edit with either of these systems. I will give it a small-scale test before I get started on this new project on the MBP.
Onward and upward (and more color space)…
-
Thank you, both Walter and Rafael for your info and advice!
And happy new year, too.
-
I am a beginner in FCS2 and ProRes, so thanks in advance for your patience!
You say it’s a lossy codec, but in this particular project I will need to often render layered segments and bring them back into my DVCPROHD (compressed) timeline anyway.
So, why convert to ProRes at all for color correcting, if it’s too lossy for layers, filters and supers? -
Good points about content of footage, but sometimes it’s hard to predict which person at the client will want which footage for what reason. Our sister company does corporate work for biz tech companies; they often need to show how solutions from just a couple of years ago need changing, so “historical” eras can vary widely.
Bob Flood: “BTW for now i used hard drives for current projects, and recapture from source tapes when neceesary.”
Yes, that’s a current paradigm, but a growing number of us are in a position of having TB’s of tapeless original footage. Recapturing becomes re-importing… but from what? How long did it take to back all that up? How much did it cost? Was the cost built in to the original budget for that job?
Archiving for the short run and the long run is a speculative, technical and economic challenge!
All this advice and these discussions along the way help make it workable. -
Coming soon is Panasonic’s dual-layer Blu-Ray SATA burner promising zippier speeds.
But for 80/160GB data tape back-up that’s more affordable and non-SCSI, in my thread above I mention this:
-
Walter, which Blu-Ray burners are you using? Will they do DL?
-
Thanks for following up…
So do the resulting natively exported clips play on your timeline, or must they be rendered?
-
Not knowing the specifics of your Hi8 camera, I will assume it has composite video and audio L-R output. Use the cable that came with the Sony with 3 male standard RCA connectors on one end (usually yellow=video, white and red=audio) and a single minipin-size male connector on the other; the minipin plugs into an AV-in port on the Sony.
For better image quality, if your Hi8 has S-Video output, use that instead of the composite connector mentioned above (but keep the audio cables connected).
I’m not familiar with that particular Sony, but you may have to select analog input somehow. You can then record the Hi8 output onto DV tape in the Sony.
When that’s all done, capture the DV tapes into FCP via Firewire.