[Eriq Wities]

Well what do other people do? I looked, and couldn’t find any workflows that made any sense that I could afford. Everything I saw involved expensive array systems (too much $) or burning to DVD or Blu-ray. Which are way to small for my needs.

You say there are endless white papers. Do you mind being specific and pointing to a few because I haven’t found them?

I don’t create image sequences. I keep all my still images as individual files and deal with them individually. I do a lot of frame by frame edits and tweaks and need access to each file, and the full res of them for much of my workflow. I know this is crazy to some of the editors on the cow, but for me, it works the best. But yes, I need to not just have access to all these original source files, but be able to reconnect them, which is the trickiest part about moving my media.

I got this work flow, adapted from a post house I did a job for. They had a San with 2 folders. Active projects and completed projects. When we finished an edit, we moved the job in to the completed folder, media and all. For me it has even more potential, I can buy cheaper, slower drives for my backups and use a faster me expensive drive for all my active work.

But I’ll come back, what are other people doing who don’t have raids? I’m not assuming my archiving process to be perfect, far from it. It’s just the best idea I had as a jumping off point.

[Eriq Wities]

Yep, that was it. Thanks Vincent.

[Eriq Wities]

Thanks Ian,

I tried the color managment for the the project settings. HDTV looks good in the AE Comp, but when I render out to queue and bring it into FCP, it looks exactly the same as it did before. Still equally dark.

I also tried Apple RGB. When I rendered that one it came out better, but still dark. Is there a way to just turn off color management and have the footage match the original? It’s seems counter-intuitive that AE would need to use a special feature to keep the footage untouched. But when color management was set to NONE as the default, everything was coming out dark, via my original post.

Is it possible this issue is unrelated to color management? I’ve tried to sync up my footage settings in AE with FCP to the best I could. Is there something I’m missing?

[Eriq Wities]

Thanks Darby,

I’m new to AE. How do I set the workspace to HDTV? How do I re-interpret the colors of the footage? What does HDTV mean in reference to the workspace? When would I and when would I not want to use it?

[Eriq Wities]

That did the trick. Thanks Chris!

[Eriq Wities]

UPDATE:

I read on this thread

https://www.emotiondv.com/cgi-bin/yabb/YaBB.pl?num=1193333951

That it is likely to be related to my previous version of FCS 1 still on the system somewhere. Before I dedicate a day to wiping my OS clean and reinstalling everything, can anyone confirm that this is the solution? Does anyone have any ideas on a faster troubleshooting strategy?

[Eriq Wities]

David,

This was always my back up plan, but I wanted to hold off on working in multiple projects as long as possible. It seems so cumbersome. Though, dragging my whole system down is cumbersome too.

It seems like the logical move to make for me at this point, but seems too clunky. I’m curious how other Stop Motion animators edit if there’s any out there reading this. Thanks David for the tip.

[Eriq Wities]

[rafalaos] “BTW, have you increased the Still Cache?
“

No, I’m not familiar with that. Could you please elaborate? Thanks

[Eriq Wities]

[walter biscardi] “That is a Compressed HD timeline and does not retain the most resolution possible. You do that in an Uncompressed HD timeline”

I picked a compression as a compromise between looking good and being easy on my computer. I’ve been told that iMac’s can not handle uncompressed HD, so I picked a compression that it can deal with (in theory).