Dustin Parsons
Forum Replies Created
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Really? You have to export to After Effects, apply the motion blur and then reimport into Premiere?
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Lame, that just adds unnecessary clutter to the interface when a simple in and out selection would suffice perfectly – please correct me if I’m wrong though. Does anyone prefer to use the work area method over in and out points?
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Good to know – it’s possible to have AVID work with a normal NAS provided that every Editor is extremely careful only render or save to their internal drives.
[Bob Zelin] “Studio Network Solutions work with AVID ONLY because they are VOLUME based, preventing editors from a common render area – this avoids the rescanning of the media database.”
Just checked out Studio Network Solutions and the Evo 3.0 All in One looks amazing! I’ll definitely have to compare it’s prices with EditShare and Facili’s offerings.
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Ouch… that’s terrible.
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Matt Geier “I know that Small Tree has a new real time video shared storage solution launched this year that supports FCP 7, FCPX, Avid, Adobe Premiere, Adobe After Effects, just to name some.”
Great! I’ll definitely check them out.
Matt Geier “You have options of tape solutions from Single Tape drives like those which are common among us now, or larger enterprise type of tape libraries and autoloader products that have massive amounts of storage space.”
The single tape LTO is what I’m looking for, I doubt I would need anything more just yet. Have you heard of BRU from the Tolis Group? I was looking at their Edit Bay Production Desktop solution but, having never used LTO, I don’t know if it’s a good system.
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[Steve Modica] “Avid works just fine with a straight up NAS provided you aren’t capturing or rendering to the shared storage during the working day.”
Wow, that’s great to hear. I have no problem capturing or rendering to one of my internal drives so that definitely opens up a lot more options.
[Steve Modica] “I wouldn’t write off FCP X just yet either.”
I am intrigued by FCP X and I know it has everything I would need to accomplish my work (we’re not broadcast) but right now there’s just not a high enough adoption rate for me to seriously consider it. We work with a lot of freelancers and most of them have gone to Avid or Premiere so that’s influencing my decision as well as the fact that I want to be fluent in programs that broadcast and feature films are cut on so I can easily move in that direction if an opportunity opens up.
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Nick Price“you can add a watermark in compressor to use as a background for timecode. You just need to change the order of the the watermark and timecode filters to make the timecode appear on top of the watermark. To move them you just pick them up…”
Awesome! I didn’t even consider that they were moveable. I was able to get it to look like I wanted but, unfortunately, adding the Timecode Generator and Watermark in Compressor doubled or tripled the time it takes to transcode. So, it looks like I still be adding timecode in Final Cut.
Thanks for the reminder about reference movies, that definitely speeds things up. I’ll definitely be incorporating that into my workflow.
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Thanks Michael, I’ll give Toki TC a shot.
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Bouke Vahl The whole idea is to give people feedback on what to write down
Exactly, which is why it’s important that the timecode is legible – to ensure that, I require either a drop shadow or a surrounding box to make sure that the timecode can still be read even if the timecode color is the same as the background image. Compressor doesn’t offer either of those options as a solution.
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Yeah, that seems like what most people are doing but that method actually slows down my overall time because rendering my entire sequence with the TimeCode Generator on there takes about 16 minutes whereas exporting only takes 2-3, so even though I have to export twice before transcoding to H.264, I’ve still saved 10 minutes.