Mark Raudonis
3
COW Coins
Forum Replies Created
-
We have a ton of Sony DSR-11’s and DSR-45’s. These decks are constantly moving from room to room depending on what needs to be done. Over the past few years we have had more than our share of firewire “burnouts”.
I think the reason some people have no problem and others do is the care in which you do the “plugging and unplugging”. In our case, we have many different people doing this, and not all of them understand the difference between “Hot swap” and “Cold swap”. I also suspect that some “jamming in backwards or upsidedown” occurs as well.
Firewire is a great concept. The connectors, however, suck.
mark
-
We use this:
https://www.bluemic.com/modules.php?op=modload&name=Products&file=index&prod_id=18
Got several of ’em. The work great. Plenty of other choices out there. Google it.
Mark
-
Woof! That was pretty harsh!
While I agree that “finding the story first” is always good advice, in this digital day and age, the first step in the process seems to be “get it digitized”. With that in mind, I’d suggest using multiple systems with a mountain of storage and just get busy digitizing it all.
Mark
-
Misha,
200 hrs isn’t so bad. We’re regularly ingesting 30 -50 hours of material PER NIGHT on the projects that we do. (Using multiple stations to ingest simultaneously)
Yes, we use Off-line RT, at 320 X 240 pixel size. I would NOT change the pixel size… that’s kinda defeating the purpose of using Off-line RT. You want as small a bandwidth as possible.
Just know that if you’re committing to an “Off-line to Online” workflow, tape labels, clipnames, media management and matching timecode become more of an issue. It can be done, but you need to know what you’re getting into.
The only other way around this is to bite the bullet and buy enough storage to hold all 200 hours. Don’t forget to have extra space for renders… they add up.
Mark
-
Chuck,
There are plenty of companies out there that will do CC for you at around $500/half hour.
This is to transcribe and provide you with an encoded disc. You’ll then have to make a “CC” dub with this info for delivery. If that’s still to expensive for you, how about getting a sponsor to pony up the cost of CC in return for a mention in the program. “Closed Captioning provided by Joe’s Bar and Grill”.Mark
-
The answer to “getting it into the computer” is , “it depends”. Only you can decide if it’s worthwhile since you’re the one choosing a recording format.
A better question would be “how am I getting OUT of the computer?” For that, without a card of some kind, you’re limited to firewire only… not a good choice for most high end outputs.
So, when you consider the “in and the out”, I would DEFINITELY want to have the card.
Mark
-
There are so many dedicated logging programs out there, I have to wonder why you’re trying to reinvent the wheel?
Do a google search for “media logging programs” and you’ll find dozens.
If you have a computer that has excel (mac), you can run FCP as a logger as well.
Mark
-
I doubt it. It’s NOT the AJA that controls the deck, it’s the software in FCP that dictates that.
AJA is more about codecs and inputs that deck control. So…. you’re still facing the same problem. Sorry.
mark
-
Steve,
Your logic breaks down when you’re talking about dozens of editors working with thousands of hours of footage. (It happens!)
Mark
-
Robby,
You’ve just discovered a dirty little secret!
You’re absolutely correct. The searching for timecode across a break can take up to two minutes to “negotiate” the break. (I’ve timed it). The better your deck, the faster it goes. For example, a Sony J30 might take 2:00 minutes, but a much more expensive MSWm-2000 can do it in around a minute. Both of these times are WAY TOO long in my opinion, and yes, the Avid seemed to do this faster. What this means is that you’re essentially taking 1.5 to 2.0 times real time to ingest your material. That does suck, especially when you have hours and hours of tapes to digitize. We get around this problem with brute force…. we throw ten to twenty decks/systems into the digitizing pool at night to bring the material in. Until we migrate to a file based system (like Sony’s xd-cam file access mode) or Panasonic’s P-2, this “broken code” problem will be an issue.
Your suggestion to ‘capture the whole tape’ and make subclips means you don’t understand the process. I suggest that you find someone there who know’s what they’re doing and listen carefully. Screwing up the digitize process will ruin everyone’s day. In our shop, it’s a ticket out the door.
Good luck.
Mark