Elijah Lynn
Forum Replies Created
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[Arash Sahba] “Does anyone know how I can reset my Previous and Next frame keys? (JKL)
Before I was able to hold K and then pressed L and it would simply jump one frame, or go back when I held K and pressed J. Now it seems like it just ignores the K and the playback is continuous forward/reverse rather than frame by frame whenever I tap J or L while holding K.”This may help:
Tools > Keyboard Layout > Default Layout
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ProRes 422 (HQ) – if the project is worth anything to you, which hopefully it is! However, it you were even considering H.264 then you would probably be fine with normal ProRes 422 or even ProRes 422 (LT).
One option is to buy a HD dock from newegg and two internal HDDs and archive it to both then split them to two different geographic locations. Not cheap & not expensive but a very high quality solution and extremely robust + the price per backup would go down the more backups you put on the disk.
Ideally, I want to upload stuff to Google Docs but they have a 2GB limit right now. You can also use Amazon’s Simple Storage Service to upload files up to 5 TB but it will cost you $0.140 per GB/month which would be about $5/month for a 40 GB file.
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[Tom Strike] “Hi. I realise that this is probably wishful thinking, but is it possible to run FCP (and other apps), execute work, move files etc from a far-off workstation. I have a mac pro, that’s connected to the internet via a network, and it’s that workstation i’d like to operate (from across the country). Am I ten years too early in my asking? I see remote desktop allows some remote fiddling, but not the kind of ‘full command of machine and all app manipulations’ via remote. My mac laptop is the one i’d like to use as the master, and the macpro is the slave. hope someone can help? thankings.”
I also access my system with LogMeIn, plus they have an Android app I may soon get! You can’t really do any editing on it like that except for this quasi way:
Do your edits and then screen share it from within FCP using iChat theater, you will have to have two IM accounts to pull this off but it would work and it would work a bit like the guys at NASA steer their spaceships remotely…. input command… wait… receive feedback… input command… wait… receive feedback and so the story goes…
The iChat theater preview is pretty slick and you can definitely see a dissolve fairly accurately, very impressive and I think everyone should test it at least once so they have the tool available.
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[Jeremy Garchow] “You aren’t watching this on an external monitor?”
No, just the system monitor, both systems had a Dell monitor. But system A looks awesome and system B looks very choppy. Same sequence settings. There was something up with the system, it wasn’t mine so it is out of my control. When I got back to my system I tested again and all is awesome in 23.98p land!
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Boris is elusive but it is in the same place where you add slugs etc. I didn’t even know it existed until a phone consult with David Weiss!
[Shane Ross] “Boris Title 3D. Built into FCP. IN the Viewer, click on the A, then BORIS, then TITLE 3D.
Shane “
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[Alisha Ahmed] “i’ve tried as apple pro res 422, and even if it’s one file, 1hour and 25 mins long, it keeps on halting about midway through it telling me I have to stop importing it cause there is not enough space, and again, the terabyte is empty, I am just importing it.”
Something else is going on, I have a Canon HF10 and have imported clips in ProRes 422 and by no means should it take up 1TB for an hour. I can’t tell you what it is but I can tell you that the solution most likely lies in that you are selecting the wrong disk, the disk has stuff on it (empty trash?), or something to do with the disk.
You want to capture to ProRes 422 and that file should easily fit 10 times over onto a 1TB drive.
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Update: The system I was working on had issues. I tested it on another system and while I can see the difference, it isn’t nearly as much as I was seeing the other day. What I was seeing looks more like a 10fps crossfade, and I don’t mean 10 frame crossfade either! I am glad it looks nicer than that!
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Okay, this is a bit of a sub discussion but is relevant to this thread so I will post it here. I was wrong about this:
[Elijah Lynn] “4. Moving on though, a possible solution we have arrived at is to take the source HDV .mov files and remove the pulldown using compressor, which takes forever and makes enormous files, but it works. I take the source footage (HDV,Mpeg-2 .MOV) and remove the pulldown via compressor by using the “reverse telecine” setting in “frame controls” > “deinterlace”, the resulting file shows in QT as 23.98 and has no “interlaced look”.”
It is actually pretty fast, much faster than realtime, for some reason the 8 core cluster I originally tested this on took 50 minutes to remove the pulldown and convert to ProRes HQ for a 3 minute test clip. I suspect the cause to be I/O related since it is on network storage. However, I have discovered something that is fascinating and completely defies logic of the Qmaster render farms we use. Everyone who is doing pulldown removal like this should take note of this as this could save you 2-35x in time spent!!!
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Here goes:
3 minute test clip, HDV 1080i60 24p source footage, run through compressor on 4 different setups. The Raid 5 mentioned below is +200MB read/write. When I say “local” it means on the computer.
Setup 1 – 8 core local cluster using network storage- render=approx. 50 minutes
Setup 2 – 8 core local cluster using raid 5 local storage = 4minutes 25 seconds
Setup 3 – No cluster, “This Computer” only, using Raid 5 local storage = 1 minute 33 seconds
Setup 4 – 16 core cluster on Gigabit ethernet, 8 core controller is on raid 5, slave is on standard HDD = 4 minutes 56 seconds
Setup 5 – Same as above but over VOIP 10/100 switches = 8 minutes 51 seconds
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As you can see above, in Setup 3. when submitting the batch to “This Computer” it removed pulldown in a 3 minute clip in 1 minute 33 seconds!!! And get this the CPU usage of all 8 cores when rendering that batch was only at 60-70%, Setup 2 had all 8 cores cranked to 100% and still took approx. 3x as long!!! This just goes to show how huge of a difference networks and I/O speeds make a difference. I ran all these test multiple times to make sure I wasn’t crazy in the head.
One thing to note is that in Setup 5 the slave and cluster controller were hooked up directly to our VOIP phones which only have a 10/100 (100 Mbit) switch in them, when this happened the CPU usage of the slave was only around 10-20 percent. When I physically connected them to Gigabit (10/100/1000) via a crossover cable all 16 cores were at around 95%-100% during the whole render, yet with 16 cores it took 4m56s!!!
In the end just the computer with no clusters involved was 3X faster than a 16 core cluster at warp speed & approx. 35x faster than a 8 core cluster on networked storage. Mind boggling… but also makes a ton of sense!
It is my suspicion that this is only the case since it is doing pulldown and it may just be able to allocate I/O resources better when not dealing with distributing tasks. I don’t think I would ever see this happen if it were actually doing transcoding and since removing pulldown isn’t really transcoding it is just a matter of how fast the I/O is.
So, I hope this comes in handy for anyone who has to remove pulldown on a ton of clips. I went from thinking it was going to take about 25 hours per 90 minute clip (4 days!!!) to doing them all in under 4 hours just by doing a test, and it is funny because my only intention was to reduce the time from 25 hours to 13 hours by using a 16 core cluster vs an 8 core one!!!
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Looks like EDL is pretty old school and isn’t really going to work the way I envisioned. Seems a better way would be to export a quicktime and make it half translucent and use it as a reference clip and then do the manual edit.
Gosh what a way to learn a lesson, nothing like on the job training!
Thanks again Joseph for your very through explanation, I really do appreciate that knowledge. Especially the mystery of why certain parts look stuttery and some don’t, that would have stayed with me for years if I had never found the answer to it!
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Thanks for your response Dave!
We shot in non-drop so would there be any hope of transferring a rough EDL to the new frame rate?
I at least feel relieved knowing that this is the correct way to do it now.