[David Eells]

That’s just what I was looking for. Thanks, Jeremy.

I couldn’t understand the testimonial on the Plug-in descritpion page, though 😉

[David Eells]

I guessI’ll have to – the show’s over an hour long!

Thanks for the tip, Peter.

[David Eells]

When I say barely realtime, I mean that it goes very soft, but it plays. If I put the ProRes HQ footage in an XD timeline, or XD footage in a ProRes HQ timeline, the result is the same. HDV is happier in the XD timeline.

The footage breaks down like this:

Pro Res HQ media already ingested: 402 GB
XDCAM HD: 318 GB
HDV 720p: 189 GB
DV Pal: 150 GB

I see what you mean on storage-
I have additional 1.8TB raid that I could use, and I could possible get more.

I’m not determined to convert tons of footage, just a little worried about what I might get locked into.

The last HDV project I was referring to was just something where they burned out the editor and brought me in at the end – I knew nothing about the project, and the previous editor was, shall we say, disgruntled, and not inclined to help.

So what I learned from HDV was to stay away if possible!

[David Eells]

Hi Andy

I appreciate your input. For the system I’m using at the moment(dual Xeon 2.66), the video is BARELY realtime. The actual rig I’m supposed to work on is a G5, so who knows how that will work. It’s possible we could rent a Kona for output to a line monitor, if we can justify the cost – not sure on that one.

I got called in on the end of an HDV project once, and outputting was a nightmare.

The EP has access to a all-standard DVD player, or could view from a laptop -I’m not anticipating having to convert until the end of the process.

So I have an opportunity to concert the footage if I act now. After Monday it’s probably not an option.

But anyway, thanks for giving me your perspective on this.

[David Eells]

[Andy Mees] “Working with XDHD and HDV only really becomes problematic if you actually want to deliver in that format (and you don’t right?)”

No. What’s important to me is that I can cut quickly, the pictures look good, and I don’t have to wait an hour to reconform every time I want to output a version for the EP. Which will happen at unexpected intervals.

[David Eells]

Andy

We’ve got a post house lined up. We trust them. The plan is I hand them the project files, or perhaps a rendered QT movie, and they do the rest. My worry is just being able to push pictures around as quickly as possible.

[David Eells]

Hey there Jeremy, Rafael, Wayne and Andy

Remember the fun we had last year? It was such a success, thanks to you and the others in this fine forum, that this is my reward!!

The tapes are in Australia. I do not expect to have access to them. The files were all transferred to G-Raid drives (by Team Australia), and then to a Burly Box 2.5 TB RAID (by me).

The tape-to-tape color correction and post is being handled by a big-time post house in our nation’s capital. They are a trusted entity.

My second concern, apart from the fact that everything looks crappy, is that we will need to burn DVD’s or VHS of the show from time to time. I know what that is like in a long-gop sequence. Do not want.

It seems to me it would have made the most sense to convert to ProRes422HQ upon ingest, and edit in 422HQ. But I’m not that familiar with XDCAM, so I’m asking. Like I say, I could conceivably use Media Manager to recompress the assets, if it seems like a practical step that would save headaches down the road.

[David Eells]

I had a similar problem, where importing a multi-layered PSD file as a composition left me with a single layer representing a composited version of the PSD.

My versions are up to date, but it turns out that the PSD was in CMYK. The lack of an error message was confusing.

I’m just posting this here for future searchers…

[David Eells]

No worries. This is the place to come for help.

[David Eells]

If anyone knows this to be impossible or unsupported, that would be helpful, too.