Bryson Jones
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I’ve never used “bins” in asset management myself. I believe those are there for import but perhaps Matt or Kevin can weigh in on this one.
As to the marker color, depending on whether you are connected to a server or not, it will be under “User Columns” or “Field Definitions” as Marker Categories.
That should get you sorted.
bryson
bryson “at” hidefcowboy.com
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Not to my knowledge. The process would be to create subclips and use those.
Although you could use “range” markers in the event marker’s area as that.
bryson
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You need to buy the “MXF option” from your dealer and then also install the Calibrated codecs.
CatDV parses the folder structure and makes it into a “metaclip” and then Calibrated allows you to play that media.
bryson
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If FCP is open, go to the “other” tab in the tree and you’ll see it there.
If you search HiDefCowboy on youtube you can see it in my first demo video from the Editor’s Guild and watch it over and over to get it.
bryson
bryson “at” hidefcowboy.com
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It really depends on your tape software. If you use one of the ones that’s got the scripts written, it’s easy to deal with.
If you like, you could write your own, but it’s obviously way easier to just buy it ready to go. The Worker Node can do a ton of things but I’m always a fan of someone else being responsible for the tape working correctly lol. Atempo, DAX and PresStor all talk to libraries and work with CatDV at varying levels.
As far as moving to the nearline and back, that’s super simple. The Worker will move files and link to the new one automatically or you can copy and delete later, depending on how you want to handle purges. Spinning archives are super easy to manage with the system.
Note, you may want more than one Worker Node if you have a lot of archive operations as it’s serial and only does one action at a time so large file moves can tie up your Worker for a good while.
bryson
bryson “at” hidefcowboy.com
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There are a few ways to play that.
Do you want to just discard the mp4? If so, you could bulk rename the mp4’s to be mov’s and then replace the files easily. (.mp4’s and .mov’s can generally interchangeably use both file extensions if your codecs are compatible.)
You could also try making the mp4’s the “proxy” of the pro res by duplicating the folder structure in the correct places, depending on your media path settings. If you wanted to keep both versions.
Also, there are a few ways to automate that proxy/hi-res workflow using the Worker Node, if you’re handy with the command line & or variables. You can make the Worker translate the path from the mp4s and put the movs in the right place based on those paths. It’s a bit much to type here but the answer is “yes, that can be done, by an experienced person”.
All of these depend upon the durations and frame rates being the same. Otherwise you’d need to cut and paste the metadata over and that could get time consuming. The real question is “how many assets?” That’s really how you determine if it makes financial and time sense to automate.
I just told a client today to not have us automate something because it was simply cheaper to get an assistant to do it for a one-time job.
Your mileage may vary, but as always, the tools are in there, it’s all about how we use them.
bryson
bryson “at” hidefcowboy.com
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It uses the Quicktime engine so if the codec you use is 64bit then it’ll be 64bit. If you use a 32bit codec I think it launches a 32bit helper app. (why do they make it all so complex??!?!)
I’m pretty sure Quicktime supports multi-threading now, but that’s not my main area of expertise. Anyone wanna confirm that?
In my FAQ for this forum, if they’d even let us do one… I’d put “CatDV uses Quicktime for most video functions. All QT related features and limitations apply” as my first note. That’s the rule for the most part.
If you’re doing heavy transcodes, look to a Compressor cluster or something like Episode or Sorenson that’s made for the purpose. Transcoding is a feature of CatDV but not it’s focus of course. From your other posts it sounds like you may have a lot of files to deal with.
bryson
bryson “at” hidefcowboy.com
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As we often do… 😉
bryson
bryson “at” hidefcowboy.com
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Hey there,
The TC is solid, but it’s only within a second, since CatDV has to get a start time from the THM files.
One cool workflow for DSLR is that if you have the space, you can use the originals as your “proxy” and then transcode only the hi res files you need for the project. (This takes the Worker and a little scripting but is a great way to work.) Watch and log the files, pick the ones you like and transcode only those.
Otherwise, you put the raw files away in a catalog for archive and then use your ProRes masters as the main files and proxy from there. The Worker can do both copies in the same action if you like and create a new catalog based on the main files with the hi res and proxy ready to go. Obviously for these workflows you need some horsepower for your transcodes to crank out a lot of footage but it’s way nicer than doing it in FCP.
Anyone else have any tips or workflows they’ve done?
bryson
bryson “at” hidefcowboy.com
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The current list of software/hardware solutions contains:
Cache-A
DAX
Atempo
Presstor
Storage DNA Evolution (in dev now)
Any more guys?
bryson
bryson “at” hidefcowboy.com
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