John Heagy
Forum Replies Created
-
So all your PAL offine media starts at 00:00:00:00 or when you reconnect it comes in at 00:… ? If the latter is true sound like your QT media all starts at 00…
John
-
Make sure you have keyframing enabled and try setting it high… like 100 or more. This should reduce file size as most screen recordings are mostly static.
-
I had hoped Final Cut Pro Server would track media via reel name and timecode but it’s all file name based. Look at CatDV… they get it… it tracks media by metadata not filename.
We use a custom linking system to link Avid OMF media to Quicktime media based on reel and timecode. I use CatDV to generate a database of all the Quicktime media One of our IT guys wrote an app that simply replaces filenames in an exported FCP xml. I’ve coined it “instassemble” as opposed to auto assemble or conform. Looks like we’ll need to use the same thing with FCP unless CatDV will do it someday.
-
Yes the current Xraid is obsolete compared to others, but let’s not forget when it was introduced it was a the first affordable fibre based mass storage device. When most alternatives where twice the price with fibre drives… Xraid was a breakthrough product. Now that everybody has surpassed it at the same price… job done.
John Heagy
-
Prediction for next year’s non-NAB announcement… Xserve discontinued and OS X Server Unlimited runs on PC servers.
Think about it… It wouldn’t hurt Mac sales as nobody would buy OS X Server Unlimited so they can run OS X on a $500 PC, and it solves the single vender issue most corporations shy away from. It would get OS X Server into more corporate data centers.
FWIW
John Heagy
-
MPEG2 is generally 4:2:0… DV is 4:1:1… so going MPEG2 to DV then back you’ll end up with 4:1:0… not good. I’d suggest going to DV50, IMX50 or ProRes, as they are all 4:2:2, then back to MPEG2.
John
-
[Scott Thomas] “I still think Avid is behind the rumors. I’m still waiting to see what Avid does with Softimage DS, Matador and Elastic Reality. Didn’t I mention something about “Not Invented Here Syndrome”?”
Waiting for Matador and Elastic Reality is like waiting for road kill to get up and walk off the road.
-
[David Frisk] “Managers make decisions on how money is spent, not editors or engineers.
True, but I think that generally, post houses that edit with Avid can and do charge more than a place with FCP (generally…there’s always exceptions of course). So that probably also affects their decisions.
“The price Avid vs FCP is changing… it’s more job based instead of equipment. There are very experienced Avid editors/facilities that can charge more. The change is all the tools one can easily have at there finger tips with FCP and Quicktime. A person that can edit with FCP, create graphics with AE or Motion and mix with Soundtrack or ProTools will command a higher price.
-
Hi Arjun,
Are you shooting with AVC-I? I believe the AVC-I plugin only works in FCP 6. The camera that records AVC-I will also do DVCPROHD, so that’s what you’ll have to stick with until you upgrade.
John
-
You understand correctly Russ. Transferring ACV-I to ProResHQ takes twice realtime using an 8 core Mac, compared to DV100 which takes half realtime.
We’ve done extensive testing comparing AVC-I, DV100. ProRes and ProResHQ using a Sony studio camera as a 10bit uncompressed source. We used Panasonic’s little P2 laptop editor to record the 10bit signal to AVC-I and a Kona 3 for all the rest. We used a custom app that does an inverse subtraction in YUV that produces a flat grey field when both sources are identical. Staying YUV is important as it does not do any YUV to RGB conversions.
The results were interesting. ProRes and ACV-I are pretty much equal with a slight edge to ProRes… ProResHQ was clearly superior. DV100 being 8bit and scaled was the worst compared to the others.
Based on this I see little advantage to editing AVC-I native. Even if in the future FCP could do say 2 streams in realtime, that would equate to many more streams with ProRes.
John Heagy