David Jahns
Forum Replies Created
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Yes, I suspect this hype about “no rendering Open-Format Timeline” means preview quality only. Can anyone confirm/refute?
Also – anyone used the new Compressor for standards conversion? PAL to NTSC or vice-versa? I’m awfully curious to know how well this optical-flow really works.
BTW – If FCP6/Compressor doesn’t live up, I’ve been very happy with the Nattress standards conversion plug-ins – at least for SD PAL-NTSC & 720p24 to 525i29.97 conversions. Of course, rendering is an issue, so I only use it at the “online” stage. Not sure if it will do HD cross-conversions or not.
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thanks for your feedback Mike.
I could see where volume level SAN could work for some setups – like longer form projects.
Our work is primarliy TV spots and corporate vids – usually in and out within a few weeks – and with 9 editors, that’s a lot of projects per year. We’ve found the UNITY and file level SAN is great. We create one workspace with all of the media for a particular project, then wipe the workspace clean when it’s over.
A volume level SAN would require either a significant increase in the number of workspaces by having 3 or 4 per project (for each editor/assistant/GRFX, etc.), or just dedicate one workspace per editor & assistant and live with the idea that media would be spread out all over the facility (metaphorically) – which would make archiving and clearing space much more challenging.
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my “shooter” was an art director that unpacked the box 6 hours before the shoot because he wanted a “B” camera on the shoot, so I’m sure it was not an intentional hack – and the thing that is strangest is that NONE of the footage is actually shot at a variable frame rate. It all plays 60 fps in real time – not slo-mo, not time lapse – athletes working out in real time.
FCP just ignores the “shooting rate” column unless it happens to be 30 – then it drops half of the frames out and makes an unusable herky-jerky 30 fps quicktime.
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I’m very interested in this P2 archive solution, yet our IT manager AND our video engineer consultant have nothing but horror stories about DLT tape archives. Whether it’s decks that won’t read a tape format from a 3 years ago, or simply mechanical breakdown – they cringed when I told them we wanted to get this deck for our P2 archive solution.
Supposedly, the LTO format is much more robust and stable – but not enough so that they would give it their blessing. The Video guy wants us to lay off P2 footage to HD-CAM SR tape, then digitize from that (for matching timecode), and the IT guy wants us to burn Blu-Ray discs at 25GB per disc – which would be 40 discs and take 40 hours for a project with a TB of raw footage. Obviously, that’s not what us editors would prefer to do…
Can anyone out there tell me they are wrong, and that you have consistently restored projects from years ago using DLT tape?
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FLV Video is courtesy of the Telestream Episode Pro plug-in – which means if you buy Episode Pro, you’ll have presets in Compressor – so it’s only a $900 plug-in to create Flash Video!!! Yeah, pretty misleading for the Apple folks to advertise FLV support. I called them on it at NAB, and they kind of chuckled – “Yeah, well…”
Also – regarding Blu-Ray – at NAB, the poor Apple schmoe in charge of showing DVD SP 4 was getting HAMMERED by folks wondering about Blu-Ray. Officially, FCS2 is not supporting Blu-Ray, but from hearing the discussions at NAB, DVD-SP 5 (with BR support) is probably sitting on a server in Cupertino, just waiting to be compiled and released – but techno-politics in the grander scheme of things (HD-DVD / BR) is keeping it from us – for now, at least…
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did you trash your previous 20GB of Motion & Soundtrack content to make room for the new 55GB or whatever it is? Any issues with that?
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via firewire, the answer is NO – can’t do. FW & DVCPro HD won’t support 1080p.
if you have a KONA 3 or LH card, you can tell FCP to use the KONA’s 1080i video output, and it will add the 2:3 pulldown for you. Of course, this means HD-SDI output and a deck that can record it.
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I’m at a facility with 4 Avids on a Unity, and 6 FCPs that we would LOVE to put on the Unity (or other SAN) – but we’ve never been able to get satisfactory performance out of the Unity on FCP. We had issues with media going offline WAY too often.
Avid claims they fixed that in unity ver 4.2, and we currently have a demo version of Unity v5, which their “Open Storage Initiative” claims it will work with 50 applications – but we have not even been able to log in to the new systems. We’ve been on tech support with Avid for 3 hours, we’ve swapped fibrecards, we’ve reformatted everything twice, and they eventually told us to send the demo version back and let them rebuild it from the ground up.
So… sorry, no solutions, but I definitely feel your pain!
Dave Jahns
Joint Editorial
Portland, OR -