Joe Murray
Forum Replies Created
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Sorry, hit post too quickly. Last time I talked to AJA (less than one month ago) they recommended NOT installing 10.4.9, as did the manufacturer of my RAID. Might want to check with relevant techs for your periperals before taking the next step with the OS.
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Now you’re getting greedy…
😉
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>>>You’re just using regular DVCPRO tape and deck, down sampling HD to SD, right?
No, I’m outputting to DVCProHD in whatever format was shot to P2 originally. You don’t actually have to use the expensive DVCProHD tapes, you can use the AJ-P126L tapes and record DVCProHD with no problems, only you get 63 minutes instead of 126. The AJ-P126Ls are just over $20.
And yes the deck is that expensive, but when you think about how much time you can spend burning DVDs, DLT tape or whatever, at a certain point it might start making sense to do a layback/archive session at a studio that owns the deck, if it doesn’t fit into your business plan to own one.
Joe Murray
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My current P2 backup option is only good for P2, and ironically it involves tape. On set we’ll use two sets of hard drives, then once the footage is back in the studio, I import all the footage into Final Cut Pro. I line up the P2 clips in order of timecode in a sequence that has the same starting timecode as the first clip, and record all the clips to a DVCPro tape (or tapes) on the AJ-1400 VTR. Equivalent of up to 60 gigabytes of storage on a $20 tape. If you’re careful to make sure each clip starts at its original timecode, you can recapture a project from tape at a future date.
I know it doesn’t make sense for everyone who shoots P2 to own a DVCProHD deck, but it makes a really great backup option, even if you have to pay someone who has the deck to lay your footage off to tape. And that’s the irony of the wonderful tapeless format, that tape is still the most reliable backup format.
As for other projects, we use Media Manager to consolidate the project and then backup to DVDs.
Joe Murray
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It would make sense for Apple to build this feature into Quicktime for PC since their new FCP Server has a Windows client.
Joe Murray
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We use MPEG Streamclip a lot and do use the files in FCP timelines without any issues, but our codec of choice is PhotoJPEG at either 75 or 100% quality, depending on the project and source footage. PhotoJPEG is a much better looking codec than DV and is what is used for most downloadable high quality stock footage, eg. Getty Images etc.
Joe Murray
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Same here. And is there a quick key to turn off those extra tracks, like in the timeline (option-click), or do you always have to turn them off one at a time?
Joe Murray
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So I don’t have the version of Disk Warrior that runs on Intel Macs. I’ve ordered the upgrade but they say it will take 3-4 weeks to get it. I’ve also copied every other file except these DVCProHD files from the main RAID on my system to the backup drive. Everything is pointing to something being wrong with the files themselves, but I’m able to edit with them without any issues.
Guess this thread will be long dead before I get the new version of DW. Thanks for the help, and I’ll try to post back if I figure this one out.
Joe Murray
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I do have Disk Warrior, so I’ll try that. The problem is that I’m trying to copy almost 2TB from one drive to the other, so it will probably take Disk Warrior a long time to evaluate and repair. I’ve already copied about 1 TB without problems, and these DVCProHD Quicktimes seem to be the only thing causing problems. I had this problem once before with files converted from P2 media, but these were captured from DVCProHD tape.
Will report back when I’ve tried DW.
Joe
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It just depends on the project whether you’ll benefit from having some color work done in transfer vs later in post. Color correction done in a telecine suite is a great thing when you need things to happen fast, but most of what’s done there can be done in post with the right operator. A good colorist is going to understand how to get the most out of your film though, and you also have the option to pan & scan to optimize your framing on each shot. I consider myself very good with color as well, but I’d never stack up against a 20 year veteran on a really nice telecine.
Joe Murray