Mark Raudonis
3
COW Coins
Forum Replies Created
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mark,
It’s not the project size that causing you problems. On a daily basis we’re dealing with projects in the 100- 170MB range. At that size you have very slow opening (10 minutes), and if you try to keep open several projects of that size you’re flirting with a crash. However, at your size (below 10mb) there must be something else going on. A corrupt sequence? Bad media? It’s something else.
You say the back up files are also corrupt. How far back? Auto save or “Save as” back ups? What did you add to the project before you experience these crashes? Have you tried opening the project “off-line”? Not connected to your drives? Trouble shooting isn’t fun, but I think your problem is in your media or sequence.
Good luck.
Mark
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Mr HD.
Over the years we’ve bought A LOT (Well over six figures) worth of gear from promax. Sure there have been some problems, but we’ve always had swift and satisfactory resolutions to our problems.
I think you’re really going overboard taking such an aggressive stand against them. All I can say is my experience with PROMAX over the years does NOT match yours. There are so many better ways to get a resolution to your problem that to try to slam them on this board.
Mark Raudonis
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Seanjayy,
You’re not alone. We’re regularly working with multiple projects in the 115 -150MB range. Yes, these are huge. Yes, they can take up to ten minutes to open.
Sometimes it’s impossible to “slim down” the size of the project. In that case, I’d suggest a quick trip to Starbucks for a double latte to get you through the long night ahead!
We’re also noticing that when you have four or five of these “monster” projects open simultaneously, you’re risking an “unexpected quit”. Even though we’ve maxed out the RAM (6 gigs), we’re still seeing a fair amount of crashes. This “project ballooning” seems to be a result of multicam in 5.02. I’m curious to hear about anyone else’s experiences with these kind of large projeccts.
Mark
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[Andy Mees] “HDCAM 1080i60 transferred (w/ TC) to Digibeta (4:3, letterboxed)”
[Andy Mees] “DV NTSC transferred (w/ TC) to Digibeta”Was the offline RT sequence created in 16X9? If so, your concerns about reframing etc are unfounded. We did a a whole series that contained all of these formats and more! However, knowing that we had to deliver a 16 X 9 master, we cut off-line RT in 16X 9 mode. The DV material was reframed as necessary in the off-line stage. By the way, we were stunned with how well the DV “blew up” to fill the HD frame. It actually looked pretty good playing next to the HDCAM original.
Basically, we did your “option #3” during the off-line sequence. Resizing and reframing was NOT really a problem since only the DV or still material was changed.
I know that HD can be confusing, but didn’t anyone think about this BEFORE you got involved??? If not, these are the clients that deserve to be charged the FULL RETAIL RATE for your services. Clearly, they know not what they’re in for! Good luck.
Mark
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JD,
It sounds like you’re a prime candidate for a SAN solution. Your workflow would become so much more streamlined you can’t imagine how you ever survived before networking.
I’m partial to Apple’s X-SAN solution, but there are other options on the market. Do yourself a favour and research the options. How much is your time worth?mark
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[owenywwg] “One thought I had was to open up the sequences simultaneously and then cut and paste clips as needed, but the editors don’t like losing the use of the source window.”
In FCP you can have multiple sequences open at the same time. They show up as tabs in the timeline. That’s where you can “cut and paste” into a new timeline.
Your question is a common one coming from “Avid Centric” editors. Once you figure out how FCP is approaches this process, there is no problem with integrating previous sequences into a final composition.
mark
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Brett,
Just because you haven’t personally experienced it, doesn’t mean it doesn’t occur. With close to one hundred systems under our roof (all connected to X-SAN) we see alot of things that many users may never experience. Please be careful about making definitive statements (“dupe detection does not look for dupes in other sequences”) unless you know it to be absolutely true. My experience with this feature on multiple large projects with long timelines shows that “Dupe detection” turned on in ANY of your projects (open or not) WILL cause a slow down.
mark
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Also, be aware that running with this “dupe detector” on may significantly slow down your system performance to the point where it is unusable. FCP looks at ANY sequence in your project that has dupe detect turned on. Therefore, if you’ve got a dozen versions of a one hour sequence in your project, FCP is going to search every single one of them looking for dupes. As you can imagine, this will take a long time. THerefore, you may NOT want to run with this feature on at all times.
Mark
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My 13 year old son has picked up Lightwave fairly easily… but then, he’s 13!
Can’t speak for the other platforms.
Mark
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Anders,
I was with you up until the point where your editor wanted to change the clip names! As you know, FCP and AVID take a very different approach to using media. FCP media does NOT live in a “project”, but only in a folder where it’s accessible to anyone. We take advantage of that feature and have producers, writers, assistants, etc. accessing that media for all sorts of things. However, the “renaming” that you’re referring to is going to trip you up. The quick answer to your question is I don’t believe it’s possible to do what you’re proposing. You COULD open the primary editor’s project at night, do the renaming then, and resave to both machines. Or… you can just punt and say, “Don’t rename the frickin’ clips!”. Hope this helps.
Mark