[Dan Riley]

Wow, I don’t like to get jumped on just for offering marketing ideas.
Nobody is asking for freebees. If that’s the take you get, you are off base.
I was offering a proven sales idea to help him sell his product, that is all.

I’ll ask my question about controlling project size another day.

Dan

[Dan Riley]

Well yes, as I said I understand how DVCPRO HD works and I want to use it all the way through not having to do the DV then SD uncompressed route. I was just saying in
doing that, that means I’m no longer breaking up my project from offline, then
to the media managed uprez (online) version. I will need to find ways to split up my
projects.

As far as not mentioning any tips that are in your book, I produce pretty successful
infomercials and if it’s one thing you learn, you need to give people a taste of
what to expect from the product. You should consider giving away some tips.
This will increase your sales overall. I’m not saying you have to do it with regards to
my question however 🙂 Maybe you already do that on the launch page for product
on your web site. If so, what’s the URL?

Dan

[Dan Riley]

Shane,
You’re probably going to say I should just buy the DVD, and I will if my question is
covered on it. I’ve got a general operational question but first I’ll lay out the situation.

One of the things I want to do when we transition to HD is stop doing offline/online
and going through the uprez process each time. It’s a pain.
So I was thinking I would shoot and load in everything at DVCPRO HD 24p, which I’m told
has file sizes that are roughly twice DV size, approx., (which is much less than
the SD uncompressed files I use now for uprez.) This way I would not
have to load stuff in twice, I’d just edit the roughcuts with the same files
as the final show. Or I could also use the ProRez deal I guess.

The problem I’m having now with FCP is when the project file size
gets large from many sequences, it can take quite a while to open a project.
By the time I get to the uprez, I’m pretty happy I now have a new project file
that is very small and opens right away. So if I combine both operations, the
offline and the online into one, the project file will be enormous.
Would you recommend dividing up the project into roughcut and finishing,
but not in a way that makes me have to uprez? Could the media manager do this by
creating a new project like I do when I want to uprez, but then not actually have TO DO
the recapturing or changing of codecs? Can FCP do this? Or can you think of
some other way to divide up a project to keep the project file size manageable?

Thanks,
Dan

[Dan Riley]

Your fix today resolved it and now everything is running fine.
Thanks Paul.

Dan

[Dan Riley]

Thanks Paul. I got it today.
I’m in the middle of following your instructions and will email you tomorrow
if there is still trouble.

Regards,
Dan

[Dan Riley]

Another FCP guy here too…..
Can a person find the Mac Universal versions of the AVID codecs somewhere and
install them on a machine that does not have AVID installed, like
that guy’s FCP workstation?

Dan

[Dan Riley]

This is not the workflow I’m trying for.
The idea is, instead of making DVDs with burned in timecode from
DigiBeta or BetaSP playback, we can take a firewire drive of backup files
and have someone drop those files into compressor to make h.264
files then upload to our site for online viewing. Even a computer without FCP.
With the discovery yesterday of how to do it, this important addition
to the quicktime player eliminates a real-time expensive step in the
process. Having to go through your process on hundreds of files,
in my opinion would increase the chance for errors as well as tying up
a workstation. For the one-off sequence now and then, yes I can see
doing your process so thanks for showing us to do that. I’m sure it will
come in handy.

Dan

[Dan Riley]

Well that is a different problem. You are saying your 8 bit clips from BetaSp
don’t have the original timecode from the tape on the captured 8bit
quicktime clips? Don’t you have rs422 connected from the BetaSP to your KONA card?

Dan

[Dan Riley]

Interesting.
I’ll try it tomorrow at the office.
But my stuff is 10 bit, and was from DigiBeta but from BetaSP masters.
What card are you using and what codec to do the 8 bit captures?
I use Aurora Pipe Studio and Aurora 10 bit uncompressed codec.
We’re still an SD house, until this summer.

Dan

[Dan Riley]

Nothing wiped out my customized settings. That’s not what I said.
I said when FCP comes out of a crash you have to go through multiple
steps to get everything back to where you left off, and I think
this operation could be handled better, that’s all.
The idea of setting up a key stroke for this purpose is something
I will look into (mentioned in another post as well). I generally don’t
customize my keyboard but I’m not opposed to it.

As far as you not having an FCP crash for months, that is really unusual
from my experience and others in the pro field I work with. When doing
chroma keys or using anything Boris, it comes with the territory in my
experience. Also when doing multiple layers of effects, stuff happens.
You must have the most stable system that there has ever been.
Not that there’s anything wrong with that 🙂

Dan