[Jeff Heywood]

Thanks that will do the trick.

[Jeff Heywood]

Yes we have used pro. The issue we have is that tiled effect on google earth where you can see the different colours from the different passes of the satellite. We’re looking for something that would allow us more control and a more consistent look. If all else fails, google earth pro is there for us, but we’re thinking there must be a better way.

[Jeff Heywood]

This is all great information, thank-you, I knew there were some solutions besides fibre. So far, with three integrators, all we were hearing is fibre, fibre, fibre. I guess that’s the way because fibre has more than enough bandwidth meaning, no chance of problems.

The key for us is how this all works with final cut server. FCSvr tracks all of our footage, manages the check out check in and everything.

I think how this would work best is our xserve with final cut server, currently fibre attached to our xraid (8TB), then have that gig-e attached to a macpro which is direct attached to the new high speed array. Our active footage, stuff we use a lot, would be on the new array, and we’d keep the xraid as a near-line or as FCSvr calls it, an archive device.

Basically FCSvr is our browser for all of our footage. If we need to access footage or upload it, we go through FCSvr.

I think with that setup it would be fine. As long as volume mounts on the desktop of FCSvr it can be used.

[Jeff Heywood]

Appears I haven’t posted since you needed to use real names, so bye bye walnut crunch, best donut ever.

Anyway

This is exactly what I’m trying to figure out. We already have the xserve and a raid array. We need more storage so we do need to buy another array. Ethernet seems very interesting because we can meet our storage needs and get edit in place for within our budget it seems.

Right now, we upload all our footage to the array through FCSvr, and then download and cache it locally on our machines for editing. FCSvr, helps track all the footage but it is time consuming to cache it.

Ethernet keeps it from being too expensive.

Final Cut Server is probably a small wrinkle in how we incorporate that. Our IS department likes the idea of using ethernet instead of fibre as they aren’t big fans of fibre due to cost, and overkill.

They are corporate IS, not video specialists, but I think if they knew what needed to be done on the networking side, they could easily pull it off.

So basically the macpro would function as the metadata and networking controller?

I guess what I’m asking, is if you had our system 3 mac pro’s, gigabit network, xserve connected to 6TB protected Xraid running FCSvr as asset management, what hardware would you add for a reliable edit in place FCP setup?

[Jeff Heywood]

What you’re saying is what I’m thinking. I’m an old hand at AE and new to motion, so I was thinking that maybe I’m trying to graft the AE workflow onto motion, when instead I should be trying to think more like motion thinks.

Where am I supposed to do all my work? I’m used to finding clips in the timeline, and setting keyframes in the timeline. What does motion want me to do? I have to say I haven’t quite figured out why there is a layers window and a timeline window when they both represent layers roughly the same way.

The presence of the layers window makes me think there is part of the workflow I don’t get.

[Jeff Heywood]

I’m using the brand spanking new motion 3

[Jeff Heywood]

We don’t have a monitor yet. We’re looking at consumer HDTV. We deliver to a collection of 32 LCD’s, Plasma’s, and HD projectors. None of them are calibrated. So we’re all over the map. For that reason, I’m not putting a lot of pressure on our monitoring. I just want it to work well enough that we can get a good idea of focus, and the impact of seeing things on a larger screen. We’ll be doing a fair amount of colour work but, again, it’s for delivery to our screens, not for broadcast clearance.

[Jeff Heywood]

Just tacking on to the end of this because I have a similar question. All my footage is hdv or p2. Mostly p2. We’re getting brand new macpro’s and final cut studio 2.

Is there a card I need? We’re delivering through digital files, and we don’t do any analogue capture or capture from decks other than our HDV deck.

The big question is monitoring and acceleration of DVCPROHD and HDV. We’re trying to keep costs in line, and that’s why I’m asking instead of just throwing money at the question and buying things.

I was thinking of the mxo for monitoring, or spending a bit more and getting an LH for basic acceleration and monitoring. What’s the best cheap route to go?

The main thing we’re trying to build is hiccup free workflow.

[Jeff Heywood]

So you can get two or 3 layers of dvcproHD going with no hitches or anything? That would be good news.

[Jeff Heywood]

Thanks for the advice. I’m looking at ~1000 CDN for the monitor and less than a thousand for whatever box goes between the two.

I’m thinking that if we are tapeless end to end, that a capture card really doesn’t do anything for us and there is no need to get one.

We deliver to HD plasmas, LCD’s and projection screens, so absolutely bang on colour and contrast is a bit of a mixed bag anyway. It would be more to have a full size picture to look at to check focus and well, have a nice big pretty picture to look at while editing.

Ideally I’d like to be in my source monitor in FCP and have that display on the HD screen and then click on timeline and have that display. Basically have anything I’m viewing on the desktop, show up as full screen on my monitor.

The mxo looks interesting. And the price is fairly reasonable. It sounds like people are using it with pretty good success.