[Jon Collins]

Yep. Also emptied disk cache as well.

Thanks,
Jon

[Jon Collins]

OK great thanks. So on that note, once I’ve finished on a project, how can I archive it? Surely all my media files from different projects are going to merge into the AVID working folder? Should I just be running separate drives for each project?

Thanks,
Jon

[Jon Collins]

OK thanks everyone. Its all clicked into place now. My original media files are just that. Shouldn’t be used for editing. I AMA footage into the project and then consolidate to working drive. I’ve pre transcoded the 5D stuff to avoid locking up AVID with transcoding. So I guess I do the same with those files. AMA in and then consolidate and then I guess I can remove those original transcoded files.

As I don’t plan to create proxies to edit with (extra step plus my system seems to be handling multiple streams of video fine), can anyone tell me why I’d AMA stuff and not direct import?

And one other point, what would be the correct workflow to run this from work and at home? Should I just lug the working external RAID around and work direct from that?

Thanks,
Jon

[Jon Collins]

OK thanks everyone. Its all clicked into place now. My original media files are just that. Shouldn’t be used for editing. I AMA footage into the project and then consolidate to working drive. I’ve pre transcoded the 5D stuff to avoid locking up AVID with transcoding. So I guess I do the same with those files. AMA in and then consolidate and then I guess I can remove those original transcoded files.

As I don’t plan to create proxies to edit with (extra step plus my system seems to be handling multiple streams of video fine), can anyone tell me why I’d AMA stuff and not direct import?

Many thanks guys.

Jon

[Jon Collins]

Thanks Michael, I’ll look into this more deeply when I get a chance. I just can’t believe I’m the first person to raise this issue with PluralEyes… Thought someone might have found a workaround for all this now. Based on that its almost as simple to just simply use a slate and mark the in’s on each track.

Thanks for your help,
Jon

[Jon Collins]

I understand both of your points, and thank you for your time, I will read the manual properly but surely the easiest way to convert footage from the timeline into multicam clips can’t be to manually input AUX timecode on every single clip as per that blog? The alternative way seems to be setting in’s on everything individually. Surely an esteemed AVID editor can tell me if there is a more efficient workflow when working with pluraleyes?

Thanks,
Jon

[Jon Collins]

Thats great thanks.

[Jon Collins]

Its going to be a mixture. I’ll get static locked off shots as fall backs but ideally I’d like to dolly around. I don’t think tracking is really the issue in my case. Mocha is great for that but I think the key area I failed in last time was ensuring the screen was as flat as possible, particularly as everyone seems to be keen on using MacBook Pros and their glossy screens.

Looks like the greencard could be a way to go but then surely you still need to add some kind of grain and lighting gradients in post to make it look realistic? At least if it was a matt black screen you could use some of that with blending modes.