Bryan Roberts
Forum Replies Created
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So this is the issue? I need faster drives to capture to DVCPRO HD on the fly? When I was first listing my system specs in a post on this forum and what I planned to capture to (4 internal SATA drives non-raided) the response was that I’d only need to Raid if I was onlining but capturing offline DVCPRO HD files etc. was fine… so I need to run down to Fry’s and buy a couple internal SATA drives, Raid0 them through OSX software and then it should capture correctly? Has anyone here captured DVCPRO HD or a comparable offline HD format from HDCAM through a Blackmagic card to a single SATA drive successfully?
Thanks again, as always…
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Hey, we have a Decklink HD Pro card since the Extreme was out of stock everywhere. Will this card still work with the Sony JH3 deck? We’re having troubles finding how to connect them and are starting to think that we HAVE to have the Decklink Extreme card…. Thanks!
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I will definitely consider this – so a normal boot drive for the program and project files then raided drives for media only… I do love speed, the Graid just gave me one of the biggest scares I’ve had before in a decade or so.
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Definitely will, thanks a million…
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Oh Shane – can you recommend a rental house that would have the J-30 HDCAM? I want to call for rates…
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“By not striping your SATA drives you are losing vast RT performance in FCP, especially when editing HD, and in many other ways emasculating your powerful MacPro.”
David – I wish I had a powerful MacPro but alas I have a 2.3 dual core G5. I’ve yet to run into any RT issues with DVCPRO HD – non raided SATA drives seem to do great for the codec and it seems this project will go dvcpro hd as well… but I’ll keep your statement in mind on their durability.
Thanks so much guys, I’ll prob have a couple middling follow up questions in the days coming as I’ve heard the production is clueless to how to capture the tapes, where to go for online etc. etc. so it sounds like a job I’ll at least be capturing on.
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[QUOTE=Shane Ross]Well, how will it be onlined? You said you aren’t doing it, and a DaVinci from *cough* Level 3 *cough* isn’t doing it…it only color corrects. So…who is onlining? How? FilmLook is like 2 blocks away and they have FCP setups and are capable of onlining the show, iffin you are interested. Just to point out someone close. They also have a DaVinci for color correction, but I understand wanting to go with a certain company/colorist for the job…absolutely.[/QUOTE]
This is not up to me. I have worked with Filmlook on several Lionsgate releases and their colorist (can’t remember his name off hand) was a really nice guy – they got the job done and always without a hitch. I’m a fan of them but in my experience producers and directors are always drawn to bigger names like a Matchframe, Level3, Plastercity etc. so they pass when I suggest Filmlook – oh and how did you know Filmlook was so close to me? 🙂
720p24 is what I was thinking in my head as well. All my effects are always done within FCP – I like to keep it local in one program and find myself seldom limited with the type of effects I need (freeze frames, moving boxes, the ever important camera flashes are covered with good plugins, color correction tools go a long way as well). So when you say scale down, do you mean create any text that I need in a 1080 timeline and then copy those over to my 720p timeline? When its on lined to 1080 would these then just enlarge?
[QUOTE=daryl k davis]I wouldn’t recommend using the camera as a capture deck. Even though the camera does play back for quick reviews of shots and such, the transport mechanism is not as robust as a playback deck and also, the constant shuttling and pre-rolling could be hard on your tape.
Renting a deck would be my first suggestion.[/QUOTE]
I couldn’t agree more – but this is not up to me. The DP owns a couple of F900’s apparently and they may choose to save the deck rental cost and try to capture using the cams, I really don’t know what their plan is but was just trying to get all the post options locked in my head before going in and hearing their plan.
[QUOTE=David Roth Weiss]Inquiring minds want to know, why would you choose not to raid your SATA drives???[/QUOTE]
Well honestly, I had a firewire scare with a Graid Terabyte drive about 1.5 years ago that I posted about my bad experience with that company way back when and since then I’ve been more wary of drive failure. When I can, I like to keep drive storage as simple and stable as possible.
[QUOTE=Sean ONeil]Honestly, you probably could get away with onlining 8-bit Uncompressed with your current drives (if you stripe them in RAID-0 and don’t fill them up). But if you don’t want to get a new card or set up an external RAID, you can buy four new SATA drives that use this new technology (perpendicular something or other). This makes them almost twice as fast as previous 7200rpm drives (70-80MBs per disk). Any SATA drive 750GB or larger has this technology. Four of these will surely be all you’ll need.[/QUOTE]
I prob could, it seems extremely straight forward – take clips offline and then recapture in FCP at the full resolution and quality based on the TC. But I don’t know if I would want to commit myself to on lining my first feature with this project given the larger size of the budget they have – any snags that cause me to explain why there are delays or problems would be pretty much non-acceptable.
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Uh, that must have been crack in my pipe last night instead of bubble solution – I don’t know why I thought the f900 was xdcam.
Thanks so much guys – I should have specified, I definitely have no intention of onlining the show on my aging 2.3 dual core g5, especially since they want to go Davinci for CC but in the past if there have been any issues, the post house always blames me since I prefer to cut in FCP so I have to solve most of their onlining issues (and I’m not talking about small mom and pops operations, cough, level3, cough).
So, if I capture directly out of the f900, does it not send any TC? Do only the HDCAM decks do this? If this is the case then I definitely shouldn’t capture this way since it’ll most definitely be onlined at some point and obviously I’ll need frame accurate TC to online with…
One more question that seems self evident at first but could be a wrinkle – I will verify but I can only assume they shot 1080p24 on the f900 so then do I use the final cut capture setting of: DVCPROHD 1080pa24 or DVCPROHD 720p24 keeping in mind I want my text and effects to transfer the best when everything is onlined?
Thanks as always!
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Thanks Shane,
1) So obviously to CC in an HD color space is just to CC in my native FCP 720p timeline but is the easiest way to CC in an SD color space to just copy my HD sequence into an SD timeline and let the MXO show me the difference when it pops out an SD signal to my 2405?
2) Any idea if the bigger film festivals support HD tapes of any sort? Any support of HD images really yet or do they mostly do either a film print or DVD?
3) I thought you would use the broadcast filter to make all the whites and blacks and colors “legal” so there would be no issues if the film were bought and distributed on DVD to the general public? Are televisions and projectors ok with displaying super nonlegal whites and oversaturated colors?
You are awesome, thanks as always. Do you drink beer and if so, what’s your favorite kind? I’m in Burbank and need to bring you a 12 pack…
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Oh, forgot to mention I’m on a dual core 2.3 g5 so PCIe and I’m going sonnet with just the 4 internal SATA ports (not the 4+4) since I won’t be going external anytime soon and if I do, I’ll rig up something to run the cables out the back anyways…