John Heagy
Forum Replies Created
-
FCP supports native editing of MPEG2 media. Any camera format that can be edited natively FCP simply rewraps as .mov. This is the case with both XDCam and DVCProHD.
-
There are a few codecs supported by EVS via mxf. The original Photo Jpeg, MPEG2, and DVCPro. All of these require EVS’s transcode app (MediaXchange) or Telestream’s Flip Factory with the proper export module. I believe MediaXchange is $5000. Nothin cheap in EVS land.
The best would have been to export DVCPro or ProRes as .mov
John Heagy
-
[Peter Wiggins] “A lot of people have ditched Picture Ready for a streaming output from EVS. “
EVS is nearly default on production trucks where reliability and durability is key.
We use Building 4 Media in a studio environment and it’s as solid as the Xsan and network infrastructure it’s working within. In our case… it’s rock solid.
Softron looks interesting and is less expensive than B4M. The concept is sound in either case.
John Heagy
-
If you are capturing HD via a Kona card then there is a way.
With FCP and Log & Capture open, launch the Aja Control Panel and arrange the FCP windows so you can see the Aja Panel. Click the “Timecode” tab in the AJa Panel. When you play the tape you should see code running in the Aja Panel. This assuming the HD deck as embedded TC, I’d be surprised if it didn’t. This will not work with SD.
John Heagy
-
DV (4:1:1) to MPEG(4:2:0) is worst case. DV averages to a single “hue” horizontally, then gets gets averaged vertically when compressed to 4:2:0.
-
[Ernie Santella] “About 300-400GB a month of shooting/editing.”
Blu Ray might be a good fit for that amount. Dual sided holds 50GB.
https://www.disc-group.com/products/DISC_BD_series.aspx
-
[Michael Aranyshev] “Where is an app that would take an EDL and retrieve exactly the frames used in this EDL from a library of LTO tapes?”
Not very familiar with DPX workflows but with DPX a good MAM(Media Asset Manager) is essential, and expensive, and i’d imagine it would have an archive function to handle restores. Short of that all you’d have to determine which files to restore “manually”.
DPX is the defintion of fine granularity so you can restore down to the frame level. If you want to restore part of a QT or MXF file then you’d need “partial file restore”. StorNext offers this as well as Cache-A with mxf (look for “mxf aware”). I heard Atempo was working on this a s well. We handle the granularity issue by “chopping up” large files so we don’t need to restore a 1hr file for a 5 sec shot.
John Heagy
-
[Peter Corbett] “What seems to be the standard to use in a 2009 Mac Pro that can utilise the I/O capabilities of the Mac?”
None really… SCSI is standard fare, whether plain SCSI-3, SAS, or Fibre.
Cache-A makes an GigE based LTO-4 FTP appliance with a built in HD that is good for small shops. LTO-4 drives are fast… we have a few and get 60MB/sec via 2Gb fibre. With this speed there’s little chance of a USB or even firewire version.
Do me a favor… I’m trying to get Archive & Back-up added as a forum. This would seem to be a deserving topic. If you, or others, feel the same… chime in…
https://forums.creativecow.net/readpost/1/857397
Thanks
John Heagy -
[Fred Jodry] “John, Marc, you are wrong when you think that RAID has nothing sensible to do with archiving.”
Nobody is asserting that.. Certainly data that is backed up or archived most likely came from a RAID.
Bottom line: If you’re Archiving to HD, RAID or otherwise, you’re asking for trouble. Unfortunately too many people are doing just that, so discussing archive on a RAID forum only encourages it.
[Fred Jodry] “CreativeCow.Net already has about 160 topics…”
Agreed… too many.
Can I suggest loosing the Mobile Me forum and replace it with Archive & Back-up.
John Heagy
-
[Shane Ross] “I know several professional post facilities and production companies that still offline and online, due to an enormous amount of footage.”
That would be us…
Another reason is the need to have a large number of systems access the same media: i.e. bandwidth. Delivering multiple streams of ProRes to 70+ systems gets expensive and complex.
FCP’s filename/path file linking relies on the two things that are easiest to change in a file system. We use a “home brewed” system that totally ignores both of these, and links solely on embedded metadata: “Reel” and timecode. It allows us to link to media FCP has never “seen”.
Reel and framecount, the same metadata Edison would have used when NJ was “Hollywood” and where the term “cliffhanger” was born… anybody?
John Heagy
NFL Films