Jon Frost
Forum Replies Created
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Sounds like you would want to be networked between two workstations… or share the same drives. Don’t forget to backup all your footage to at least two drives/RAID arrays. Are you syncing your two system audio to your clips before editing?
Do you have a logical file management system in place so you have the exact same folder/file structure for both workstations to look at?
Which RED camera system did you shoot on? RED ONE, Scarlet, EPIC? How fast is your computer…. specs please. If you are able to edit OK on 1/4 quality… good for you. Is this also true of your assistant on the MacBook Pro?
It’s nice to be able to edit natively in Premiere Pro… just make sure you are editing on a COPY of your original footage in case something gets corrupted/lost.
i found it’s always a good idea to run a sample file or two through your entire workflow from production through post to output, including syncing audio to video, just to make sure your planned workflow will work as expected.
Congrats on your first RED project. Let me know how it goes.
Jon Frost
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Glad you are following best practice and copying the whole file structure on your CF cards from the 7D. If you are using FCP, you need to transcode using Apple ProRes 422 in any flavor you choose. This is going to make your files up to 8x larger than the original files. ProRes422 is very edit friendly. Just send your original H.264 files through Log and Transfer using ProRes 422 and you will hopefully not have any artifacts. Let me know how this works for you.
Jon Frost
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Glad to help. Look for my article on Data Management and Archiving in Student Filmmaker in the coming months.
Jon Frost
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Why transcode to ProRes 422HQ when 422 or 422 Proxy will give you smaller files. Remember that generic 422 is going to jump your file size 7-8x.
The glitches might be due to large files chewing up your CPU/GPU throughput.
Transcode one file which was giving you problems to 422 or 422 Proxy and see if the same glitches show up.
Did you back up all your original footage before transcoding? Hope so. Did you copy the entire folder contents from each card that came out of your camera and ingested into your external drive.
Jon Frost
meowmixmedia.net -
Klya:
If you can boost the DIMM in your MacBook that will help out with realtime rendering and such. The next thing is to set up a RAID (1 or 5 preferable) Using RT HD codec will help out quite a bit. Do you have all your original footage backed up to another HDD? Hope so.
Practice with a couple of files… open them in FCP7 and Log and Transfer them using RT HD codec. Save the files to an external drive. This will speed up your L&T time. Remember, 7,200RPM drive… the bigger the better.
Also remember to use Logical File Management so you can find all your files and FCP can find them when it comes time to Render your final Sequence.
email me for more info @ meowmix48@gmail.com
Jon Frost
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Klya:
If you can boost the DIMM in your MacBook that will help out with realtime rendering and such. The next thing is to set up a RAID (1 or 5 preferable) Using RT HD codec will help out quite a bit. Do you have all your original footage backed up to another HDD? Hope so.
Practice with a couple of files… open them in FCP7 and Log and Transfer them using RT HD codec. Save the files to an external drive. This will speed up your L&T time. Remember, 7,200RPM drive… the bigger the better.
Also remember to use Logical File Management so you can find all your files and FCP can find them when it comes time to Render your final Sequence.
email me for more info @ meowmix48@gmail.com
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Are you using Logical File Management of your 8 cameras files? I certainly hope so. You need to make a folder for the Project; then a folder for each camera titled something like:
PROJECT NAME
Original Footage
Camera 1
Card 1 (Date)
Card 2 (Date) etc.
Camera 2
Card 1 (Date)repeat this for all 8 cameras
You must copy the entire contents of the card from each camera each time you ingest footage from a new card. Without the card folder structure you can end up with corrupt and/or unusable footage.
When you get back stateside, then you can consider doing Log and Transfer of your clips into your editing software. Remember that each camera might have a particular file naming structure and you don’t want to end up with the same filename for two files in the same folder or you are going to get an error message and may in all likelihood overwrite some files. Each file name should be changed to something like;
S(cene)#T(ake)# Cam1 Date (mmddyy))
You will most likely need much more hard disk space (preferably RIAD 1 or 5) if you are going to edit on anything other than Adobe Premiere Pro CS5.5 which can edit your native files for most formats of digital media.
You really need to be anal about file management especially with 8 cameras!
You can e-mail me for more info privately.
Jon Frost
meowmixmedia.net
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I use a Sennheiser 416P48 outdoors fully blimped with Rycote system. Indoors I use an Octava 012 Hypercardioid fully blimped with Rycote system. Both on a CF boom pole and shock mount. I am also recording to an SD78T-SSD 8 track recorder. The H4N is going to sample at 48K- 24-bit which is the industry minimum for audio capture. Do Not Use The Camera For Your Audio!!!
Jon Frost
meowmixmedia.net -
I’d go with a G-Tech ES 6TB 4 drive solution striped for RAID 1 or RAID 5. Better to have two in RAID 5 or RAID 10 format.
Jon Frost
MeowMixMedia.net -
Arlo:
Looks like your clips are really shot in 29.97 not 24p which would be 23.976.
Your audio was recorded at 23.976.Rerecord your audio in Audition at 29.97. Make sure your Sequence Preset is set for 29.97.
You can use PluralEyes for syncing the audio to video, though you have to futz around with the settings depending on the quality of your camera audio (scratch track only) and your SD744T. I normally use Level Audio, Try Very Hard and Multiprocessing.
Jon Frost