[David Roth weiss]

I can’t remember and I’m on the road. Maybe ask in a new thread? Or, change in another app first?

David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los Angeles

David is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.

[David Roth weiss]

[Bruce Carter] “Looking at the clip metadata to see if it can be fixed by adding a Reel # per a suggestion.”

That would have been my next suggestion as well – no reel #’s accounts for the majority of relinking issues I’ve helped to troubleshoot.

David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los Angeles

David is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.

[David Roth weiss]

You’re very welcome sir!

David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los Angeles

David is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.

[David Roth weiss]

It makes VERY little difference Bobby, because DVDs are so highly compressed. However, I would recommend Pro Res 422, simply because it will tend to hold better than the other codecs you mentioned when you lose a generation, color correct, etc.

The stuff you rip from Blu Ray is clearly not going to match, so don’t let that impact your decision. You should rip that to ProRes as well BTW, though MPEG Streanclip won’t handle ripping from bluray, or certainly didn’t when I tried a few years back. I can’t remember what I used for that, but it took some experimenting to find a good solution.

David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los Angeles

David is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.

[David Roth weiss]

[Bryce Moose] “So Should I create Proxy Pro Res or just create Pro Res 422?”

As I wrote earlier…

[David Roth Weiss] “I’d prefer to see you try Pro Res 422, at the same framerate and pixel dimensions as you’re using now – that way, if you can achieve seamless playback, you can potentially finish without an online conform.

If Pro Res 422 still requires too much bandwidth for your hardware, drop down to Pro Res LT and test that, and then try Pro Res Proxy as a last resort.”

Test… That’s the only you’ll know…

David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los Angeles

David is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.

[David Roth weiss]

[Matthew Bowden] “Bob,I don’t know what to say other than it’s clear to me now that you aren’t hear to help anyone.”

Matthew,

Bob is indeed trying to help you – he’s doing his very best to keep you and your boss from THE single most common mistake any of us in the hardware sales and consulting business encounter, which is “false economy” – unfortunately the number one cause of customers having to buy twice.

You’ll have to get past Bob’s online persona (i.e. pretending to be the grinch who stole Christmas), which anyone who knows him understands is just his way of horsing around. I too absolutely hated him, until i got to know he was really a real teddy bear and a prankster.

To reinforce the valid points he was attempting to make… SAS is essentially identical in speed to Thunderbolt-2, but requires a PCIe controller card, and the ONLY good ones are not cheap ($1000 on average). FYI, though Thunderbolt does not require a controller card, the manufacturers still get you, because the good one’s (with hardware RAIDs) charge an extra $1000 over their identical SAS enclosures (that come without an included SAS controller card).

Bob also mentioned that an 8-drive array is the only enclosure to buy… Of course, that’s not entirely true, but he’s just trying to keep you from falling into the trap of false economy, which would most likely require you to buy another RAID before you you know it.

Why an 8-drive array you may ask??? Because, every time you double the number of spinning disks in an array, you double the throughput of that array. So, with 4K upon us, and with the requirements of multi-cam workflows, spending a bit more now for the right RAID will make you and your boss happier that you know.

For the record, Bob and I are both considered storage experts… Besides my years as high-level storage user and integrator, I also have many years experience as a sales exec and consultant, specializing in both direct attached and shared storage systems.

David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los Angeles

David is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.

[David Roth weiss]

[Bryce Moose] “my iMac is wicked fast so I didn’t think I needed Proxy Files”

Yeh, but as I mentioned, some codecs are just very heavy lifting, and AVCHD just happens to be one of them.

FYI, Sony created the XAVC codec as the replacement for AVCHD because it’s less processor intensive. However, some flavors or XAVC, specifically XAVCi, can be a bear too, as it appears Adobe has no gotten around to tweaking under the hood of their apps yet to optimize for it.

David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los Angeles

David is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.

[David Roth weiss]

[Bryce Moose] “I work lots with MultiCam sequences and lots of my non multicam sequences are complex.

DO you recommend I create Proxy files?”

Well, a proxy workflow usually means using low res files… I’d prefer to see you try Pro Res 422, at the same framerate and pixel dimensions as you’re using now – that way, if you can achieve seamless playback, you can potentially finish without an online conform.

If Pro Res 422 still requires too much bandwidth for your hardware, drop down to Pro Res LT and test that, and then try Pro Res Proxy as a last resort.Again, I recommend the same framerate and pixel dimensions any time you transcode to a “mezzanine codec,” just so all your graphics, repositions, and composites are in their final positions if you do have to conform to hi-res files in online.

FYI, I always do my best to avoid offline to online workflows, simply because errors can be introduced at that stage, when you can least afford the time to fix them.

David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los Angeles

David is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.

[David Roth weiss]

Bruce,

It’s very difficult to say what the issue(s) are that you’re experiencing. However, since the upgrade to ver. 12 is free, I would certainly recommend you give it a shot, as one of the biggest improvements in the “underpinnings” of Resolve, at least in my understanding, is it’s improved file handling capabilities.

David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los Angeles

David is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.

[David Roth weiss]

[Jim Wiseman] “Mostly though, nothing personal. Your contributions are appreciated. Apologies as warranted.”

Thanks, and likewise here Jim…

Though not really necessary, I accept your apologies, and I apologize to you if I have transgressed.

It’s always good to clear the air when feathers fly, because, in the end, when real bad guys come a knockin, I guarantee you, we’ll be fighting side by side, and I’ll have your back and you’ll have mine.

David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los Angeles

David is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.