[Christian Clark]

Isaac, I think you are referring to this:
https://www.larryjordan.biz/technique-refreshing-hard-disk-storage/

Shane & David, any thoughts on when an external hard drive becomes too old to reliably use, defragging or reformatting an external, or cloud storage solutions?

—
Christian H. Clark
City Limit Films
http://www.citylimitfilms.com

[Christian Clark]

This works! For some reason, Compressor was interpreting the DB files as LFF when they should be UFF. Once I make the change, reverse telecine works.

Any clue why Compressor doesn’t just see the file as it actually is?

Thanks again for your help!

—
Christian H. Clark
City Limit Films
http://www.citylimitfilms.com

[Christian Clark]

I used reverse telecine in Compressor. I was under the impression that DB & DV were both lower field first, though I’m not sure how that comes in to play here. I bring the file into Compressor and select reverse telecine and it greys out the options for Output Fields.

Any other thoughts?

—
Christian H. Clark
City Limit Films
http://www.citylimitfilms.com

[Christian Clark]

Hey Eric,

I spoke to the festival again, and they are insisting on a Blu Ray “because they play back better.” I also spoke to Walter Biscardi, and he recommended I get in touch with you for local LA based help. I can’t seem to find a way to send you a direct message thru the Cow, but if you get this, can you let me know if you can help?

Thanks,

—
Christian H. Clark
City Limit Films
http://www.citylimitfilms.com

[Christian Clark]

Thanks for your response. When I put the SD film on a Blu Ray, and it’s up rezzed by the player, does it appear letter and/or pillar boxed? I guess I’m wondering how exactly it goes from 720×480 to 1920×1080. I’m sort of assuming it pillar boxes it. My film is 2.35 within the 720×480 so would cropping it ahead of time help avoid pillar boxing in addition to the letter boxing it already has?

I still need help making the Blu Ray, even if it’s just an SD film on the Blu Ray, so if anyone has someone to recommend, I would greatly appreciate it.

—
Christian H. Clark
City Limit Films
http://www.citylimitfilms.com

[Christian Clark]

How do you set the reelname on every clip in batches? Were you meaning you could do this in Avid or FCP? I just got a project back into FCP from an Avid editor and everything relinked, but about 10-20% of the project relinked but has relinked to a different part of the clip. I’m looking for a solution so I don’t have to manually recut those parts. Perhaps my problem comes from the reelname issue?

If it helps, we shot 5D which I believe labels all reels the same? 01?

Thanks in advance for any help you can provide,

—
Christian H. Clark
City Limit Films
http://www.citylimitfilms.com

[Christian Clark]

Hey Rafael,

I saw your later post as well. I was really just looking for someone to verify it. I scoured the net and you were the only person I could find that attempted to explain it.

Basically, it seems like it’s just for downsampling so it wouldn’t be applicable for 5D/7D footage (as I assume they are nowhere near 4:4:4).

I tested a short clip (from the 5D) with and without it and it resulted in the same file size and same quality. I saw someone saying that if you take it off, you will get faster transcodes, but I have not tested that myself.

If anyone else has anything to add, let us know.

—
Christian H. Clark
City Limit Films
http://www.citylimitfilms.com

[Christian Clark]

Hey Shane,

Thanks so much for your expertise. I actually just watched your tapeless media tutorial yesterday and have a follow up question on this thread.

Let’s say I archive a “finished” project. I delete my ProRes422 files and only have the H264’s. Then for some reason, say I want to go back to the “finished” project. I have to retranscode from H264 to ProRes422.

Is there any specific workflow I would need to follow to make sure everything links back up? And would this workflow vary depending on whether you used the E1 plugin to do your transcoding or Compressor? It almost seems like I shouldn’t do in and out points or rename clips in Log and Transfer because that could make it more difficult to relink everything after archiving. What do you think?

Just trying to plan ahead here. Thanks in advance for any help you can provide.

—
Christian H. Clark
City Limit Films
http://www.citylimitfilms.com

[Christian Clark]

Hey Shane,

Trying to get a backup system of my own going here and I wanted to see if I could get you to unpack this statement:

“Well, I do back up the media, but the originals, not the imported footage.”

I was actually thinking of doing the opposite. For instance, I don’t see the need to keep the original files off of a P2 Card for projects shot on the HVX or the H264’s off of a CF card for 7D projects.

Once the projects are 100% finished, I was planning on deleting the P2 files and H264’s and only keeping the resultant QT files (from P2) and ProRes422 files (from the H264’s). I was going to keep them on two separate drives just in case I ever wanted to go back to them and one drive failed.

I guess I understand why you would do the opposite if you’re dealing with R3D’s and cutting offline in some other format, but that’s not yet the case for us. Your thoughts?

Also, do you recommend a certain software for those of us on a pre-Time Machine Mac Pro for general backup (not the actual media files)?

Thanks in advance,

—
Christian H. Clark
City Limit Films
http://www.citylimitfilms.com

[Christian Clark]

Did either of you figure this out, David or Rosa Linda?

—
Christian H. Clark
City Limit Films
http://www.citylimitfilms.com