Brendan Coots
Forum Replies Created
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Similar to the .mac concept, we are using our Leopard-based Xserve to provide centraizedl Wiki/iCal services. Since the two are integrated you can use the wiki for project management/notes etc., and the calendar for scheduling things. You can also use the Directory for managing assets such as cameras etc and “check them out” so you know the status of your gear, resources, people and more at a glance.
Of course, this is an expensive solution (about $3k) but since it provides many other valuable services to video organizations so it’s worth it IMO.
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John,
Does the stutter persist when you render the file out, or is it only showing in RAM previews?
Sometimes, you can get a few bad frames in your RAM cache and it causes the comp viewer window to display what appears to be odd problems. Clearing the RAM cache (Edit>Purge>All) usually fixes this.
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OS – Personally, my studio has moved away from PCs altogether because Macs perform better for content creation and MS Vista is a move in the absolute wrong direction, with no signs of MS changing course in the near future. It consumes a massive amount of RAM, has ridiculous security measures/bandaids, and offers nothing new to the content creation professional. If you must use a PC, stick to Windows XP.
Processors – I was always a fan of AMD processors, but recently have come to accept that Intel chips are just better for this line of work. I would accept nothing less than a dual core processor (perhaps a Core2 Duo 2Ghz or better), but ideally get a quad-core system.
Memory – On Windows (32-bit versions) 4GB is the most you can really make use of, and even then only when applying the 3GB switch in your boot.ini file (Google this if you don’t know what I mean). Get as much RAM as you can afford, it really makes a difference that you can feel. Vista consumes nearly 1GB RAM just to run (see my point above about Vista), so don’t even think about doing 3D or After Effects with any less than 2GB if you run Vista.
Video Cards – If you do a lot of 3D design, the consumer-focused Nvidia Geforce cards are not so hot. They can hold their own to a degree, but have issues with most modern 3d apps. You should seriously consider the Nvidia Quadro line of graphics cards, they are specifically designed for content creation and 3d. Starting price is several hundred dollars. Also, don’t be fooled by the seemingly low-end specs of the Quadro cards compared to consumer cards. There is no comparison, as content creation relies on different features than video games.
Computer Brands – Dells are somewhat okay but they are a horrible company, both politically and in terms of product quality. They use the cheapest parts they can find, which doesn’t exactly make for a solid, reliable 3d box to say the least. Their monitors are fantastic, but I’ll never buy another Dell computer. Boxx makes great machines but they are overpriced. HP is a good compromise between the two. Ultimately, I just got in the habit of building my own boxes from scratch, using parts from reputable vendors like newegg.com. For the price of a mid-line Dell, you can build a machine that is 2-3 times more powerful and use much higher quality components. This method relies on you understanding how computers go together, needless to say, but some diligent research online will give you all the info you need to build a great machine.
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Not that it answers your question, but why in the world would you do this? Vegas accepts Quicktime just as readily as AVI files. In addition, you will be recompressing your files and adding a layer of quality loss into the mix before you’ve even begun editing. NOT a good idea unless there is an extremely compelling reason, especially given how many clips you have.
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“We all know that Apple are good at creating a buzz around their product range. But does this really help you Ben when you are editing?”
Most of the spectators at the Apple booth are there because they like the products – they work well, are reasonably intuitive and, more importantly, they are cheap so many more people can get in on the action. With Avid, you can’t even step up to the plate with less than $100k to work with, and their entire system is propped up on a code base that is what, almost 15-20 years old? Not to start a FCP vs. Avid debate here, but Avid doesn’t generate much excitement for the average trade show attendee because it is overpriced and not FOR the mainstream, average editor. Apple’s success isn’t based on unwarranted hype and marketing, it’s based on accessibility, which is key to having a good showing at a trade show.
I would wager that the vast majority of Avid’s current business is made up of long-term customers from back in the early days of computer-based editing, who are so used to Avid (and the name being synonymous with high-end editing) that they are hesitant to move to other products. Avid seems to be banking on a small set of dedicated users to keep them going. Based on this, there really isn’t much need for them to hit the big expensive trade shows.
In some ways it does point to a downturn for them, if only because it highlights what an “elite” system it is, so elite in fact that average purchasers don’t frequent their booths enough to justify the expense. If they can’t get younger editors to use their products, they lose. Unfortunately the only way to do that is to stop charging $900 per hard drive and $150,000 for a piece of software who’s next competitor charges $1,299.
But that’s just my 2 cents.
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And to add to that, this is yet another prime illustration of why detailed contracts are a must-have, NOT an optional nicety.
In my experience, this is the worst industry in which to rely on “handshake” type agreements. There are too many fine details that can be exploited or ignored, and since what we deliver is artistic in nature (and therefore highly subjective), it is vital to contractually spell out what is and is not cause for dispute, and what rights are granted to both parties. Leave anything to chance, and Murphy will kick your butt.
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Some good advice, and here is my take on how to speed things up:
1. More RAM is definitely a good first step. 8-16GB will get those CPU cores working
2. AE uses disc cache to store previously rendered frames when RAM runs out, allowing it to re-allocate some RAM to render additional frames. Problem is, it is much slower than pure RAM-based previews, and After Effects will only use the disc cache if it is faster than re-rendering the frames (path of least resistance). So basically, as Kevin pointed out, your disc cache setup should be very fast in order to really make a difference. Either way, you should have enough RAM that AE rarely needs to rely on this to begin with. Having ample disc cache space is NOT a suitable replacement for adequate RAM.
3. Consider working with proxies until final render. You are possibly fighting needlessly with After Effects where a proxy would deliver perfectly acceptable “working” quality. Motion JPEG-B could work well for this purpose.
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I spoke with an Adobe rep a few months ago about this, and he told me they offered cross-grades for just the cost of shipping the disc to you, provided you fill out the paperwork.
When I told him stories I’ve heard on various forums about the cross-grade not being available, he said they have some very lazy reps who will deny its availability just so they don’t have to deal with it and can move on to a “paying” customer. He said that if they turn you down, ask for their name and ask to speak to a manager.
Then again, they might have changed their policy since this conversation took place, I wouldn’t be all that surprised.
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The codecs Aharon mentioned will work and are probaby a good start. Whatever choice you make, be prepared to have some very large files on your hands that are pretty resource-intensive.
Also, you should be warned (if you weren’t already aware of it) that the camera you purchased uses the MPEG-2 codec. They aren’t exactly lying when they say it records HD (it DOES record 1920×1080) but MPEG-2 is not HD quality by any stretch of the imagination. Because your video will already be somewhat hobbled by this extremely lossy codec, you need to be careful about recompressing the file. As such, using a lossless codec like Uncompressed or Animation codec are a good bet to preserve as much detail as possible.
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Also, you didn’t mention whether you needed the backdrop to be portable or not. If not, you really should just use the chroma green paint and build your own greenscreen “wall.” Many people just use 4×8 sheets of plywood, but there is also a product called MDO (medium density overlay) which is 4×8 plywood with a very smooth layer on one side. It is used for making business signs etc. and is very reliable. Used with primer, this type of board will give you an extremely smooth, long-lasting Hollywood-quality backdrop.
Nice thing about this approach is that any surface imperfections, dirt etc. can just be painted over. With the cloth backdrops, you have to wash them which may cause them to lose color and I doubt the foam-backed versions can handle a washing.