Eric Jurgenson
Forum Replies Created
-
Adobe CS5 on the Win client; FCS on the Mac client.
The Evo looks great, but I’m trying to utilize my existing Enhance-Tech SAS array (as an expander), which would plug into their NAS8000 iSCSI array. I’m thinking I could save some money, even if I have to buy SAN software.
-
Are there XFS (Linux) drivers that would work with Apple and Windows clients in a NAS configuration?
-
https://www.enhance-tech.com/solution/nas-storage/high-performanceNAS.html
These models have a built-in NAS server, but there are other models that don’t:
https://www.enhance-tech.com/products/ultrastor/ultrastor-rs-series.html -
That’s correct.
-
1080i60 indicates 60 FIELDS per second (30 frames per second – there are two fields per frame in interlaced video). This is admittedly a bit confusing, but is just a naming convention. Your footage is 30 (actually 29.97)frames per second.
To add to the confusion, there IS such a thing as 60 frames per second (720P 60 for example). The difference is whether the source footage is interlaced or progressive. There is (for all practical purposes) no such format as 60 fps interlaced.
You could use a progressive format (and retain maximum quality) if your only use involves reducing the size of your movie by 1/2 or more. This eliminates the line doubling that takes place when deinterlacing (putting interlaced footage on a progressive timeline). If you need a full HD version, I would edit on an interlaced timeline, and convert to progressive when exporting to your web format (best of both worlds).
-
I’d use one of the 1920×1080 60i presets, like the AVCHD preset.
If the web video will be half size or less, you could use a progressive preset; othewise deinterlacing your AVCHD footage by putting it into a progressive sequence will cut its vertical resolution in half. (This becomes a non-factor for half size (or less) video exports.) Remember that progressive footage can be converted to interlace without loss of resolution; however the reverse is not true.
Premiere will bog down on high resolution stills, so you may want to size them down in Photoshop before bringing them into the Premiere project. Pick a size that is close to the project resolution (1920×1080); maybe a bit larger if you plan to animate them (panning and zooming).
ProRes is only available as a playback format in Windows (To export ProRes, you need Final Cut Pro on your system (Mac only).
-
You do have an a system drive in addition to the two 2TB video drives, right?
The single SATA drives for video will be the bottleneck for the system. You may want to consider an array at some point.
-
I think the 24 fps footage should be interperted as such. Otherwise it will play at 30 fps, which could account for your short clips.
-
You eventually have to log and transfer to get the clips into FCP, but if you aren’t editing on that system, I’d just copy the cards straight onto a hard drive, keeping the folder structure intact (copy the “contents” folder), for later import into Premiere.
-
You want to be editing in a 30 fps sequence (29.94), not 24. 24 fps material will look fine when pulldown is (automatically) added in a 30 fps sequence, whereas 30 fps material will never look good in a 24 fps sequence (will look jumpy) due to frame/field decimation in the conversion, and less motion blur compared to material shot native 24 fps.
If you are having problems cutting and pasting (above post), try checking the “interpert footage” right-click menu (on clips in project window) to make sure your footage is being interperted at the proper frame rate.