Mark Raudonis
3
COW Coins
Forum Replies Created
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Shane,
You’re not updating it for “X”?
mark
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[Lance Bachelder] “The thing is FCPX is so deep and truly “pro” in some areas and then completely lacking in some of the day to day things we use all the time with legacy FCP and other NLE’s.”
Lance,
You’ve just perfectly summed up my impression of FCP-X. The GUI design team must have had internal battles on a feature by feature basis: “It’s gotta be Professional… but it’s gotta be simple. It’s gotta be
streamlined… but it’s gotta handle deep metadata.”I could go on, but this “split personality” is what frustrates so many long time users. I don’t care how many times some die hards on this list say “But you just don’t get it!”. There were some choices made during the
design process that just make me ask “What were you thinking?”.mark
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We use “Off-line RT HD”. Picture is very compressed, but we can regularly go up to 24 cameras
with no dropped frames.For info on how to create these light weight proxies, see the manual.
mark
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I’m NOT exploring! I’m just pointing out something that all of the demos of multicam that i’ve seen to date
seem to conveniently ignore. Audio, and by audio I mean MORE than one track, is a critical part of the editing process. Accessing audio trks 2+ with the current paradigm is awkward at best.Music video cutting against a single, unedited audio track…. OK. Nice trick. Now let’s see the tool
used to cut a multicam scene with 12 iso trks of dialogue. That’s a demo that I’d like to see.Mark
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“I struggle to see the advantage of uprez’ing the entire clip…”
That’s because you’re not thinking through all of the possibilities. You’re assuming I’m suggesting uprezzing the ENTIRE tape… I’m not. I am only suggesting uprezzing a complete clip (timecode start to stop). That will reduce the amount of time digitized to a more manageable size.
I chuckle at your suggestion that this may only work with “small sized projects”. What you don’t know is that we are regularly using this method on multiple hour long shows, referencing THOUSANDS of hours of media. Our SAN is BIG (over 300+ TBs) and that’s still NOT big enough to go full HD start to finish. Most people who suggest staying at full rez fail to consider the bandwidth required to have a dozen editors pulling 20 streams of multi cam media simultaneously. Even if you have the storage space, the bandwidth requirements will stop you from using the “all HiRez all the time”.
In our case,our acquisition format is XDCAM-HD which makes the uprez process a breeze. It’s faster than real time, so we pay a very small time penalty for digitizing extra media. In a perfect world, I’d definitely try to stay full rez all the time. But we don’t live in a perfect world, and the workflow I’ve suggested is the best compromise between efficiency and cost that we’ve been able to devise.
mark
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“the production company doesnt have the budget for more san space.”
If you point out to them how much time and effort is consumed with your current workflow, they
SHOULD gladly come up with the money. That’s assuming they can do math!Good luck.
Mark
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Joe,
We’re feeling a lot of pressure from some networks to deliver an “uprezzed” less than final cut. While I agree this is a PITA, in the end, the customer is always right.
Therefore, this becomes an exercise in how to accomplish this with the least pain. We have experimented with many different workflows, and our current favorite is: uprez the ENTIRE clip of any shot referenced.
When the changes come… and they will come… chances are, the high rez media already exists on the SAN,
making the next pass simply a reconnect. In the event that a change required NEW material, that full length clip must be uprezzed. This has proven to be the most efficient way to handle “less than final” cuts.Good luck.
Mark
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Check out BLackmagic: ATEM 1/ME
THere’s a link right on this page. Just click on the ad.
mark
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Brett,
Let me summarize your options: Your F@$%K’D!!!
Whomever made the decision to move forward without fixing this BEFORE you started editing
should take the responsibility to fix it now.THere’s no “automatic” way to do this. No Timecode? You’re absolutely F@%$K’D!
Good luck.
Mark
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Regarding the logo blurs::::
99% of all the blurs we do have NOTHING to do with permissions, and EVERYTHING to do with marketing.
Example: Pepsi could care less if you display their logo, but Coke will be pissed if they’re sponsoring the show. End result, pepsi gets blurred.
My advice, submit it as is, unblurred and wait for someone to complain. If they don’t you’ve saved some time and money. If they do… you’ve learned why most “fictional” stories take place in a logo free world. And if there are recognizable logos in that world, you can bet that someone paid for it.
Good luck.
Mark