Mark Raudonis
3
COW Coins
Forum Replies Created
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[Joe Riggs] “it is the “industry standard”.”
Uh, what industry would that be?
mark
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Tom,
Qmaster is a “shared rendering” program. It “harnesses” the entire available pool of CPU’s to split up the rendering chores amongst many computers. This is an EXTREMELY bandwidth intensive activity. Therefore, if you’re trying to edit simultaneously while distributing renders, as Bob says, “You will fail!”.
So, having QMaster enabled isn’t the problem. It’s using it to render while trying to edit that sucks up all your bandwidth and causes dropped frames. In your case, do an experiment. Send an hour long file via QMaster to compressor for distributed rendering, and THEN have your whole team try to edit. Let us know what happens.
Mark
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Two to three minutes to accomplish a single cue up for capture is NOT unusual for this deck!!!
That’s the way it is.
Now you know why “file based, tapeless” formats were invented!
Don’t like the long cueing times? Switch formats or try a more expensive “studio” deck. However, even the better decks do NOT significantly speed up the cueing process.
Mark
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Wilson,
You are literally trying to squeeze a square peg into a round hole.
Something has to give. Either you crop or you stretch, but it’s physically impossible NOT to alter the image to match the new size.
It seems to me that you’re looking for an “Easy Button” to deal with your lack of preproduction preparation. Next time, spend a few minutes thinking about these fundamental issues BEFORE you shoot. You’ll save yourself hours of grief.
Mark
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+ 3 on the Dells. Just bought a bunch of ’em.
Mark
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mark,
You can use video equipment and it DOESN’T have to be expensive.
https://www.boinx.com/boinxtv/overview/
Mark
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[Mike McPherson] “shot in a myriad of formats: REDCODE, XDCAM EX, DVCPRO HD and H.264 (from 5Ds and 7Ds) just to name a few.”
All I can say is “Good Luck”!
There is hope however. If you keep all the full rez material available and on-line, then your “up rez” is simply a “Reconnect” rather than a redigitize. This is INFINITELY easier and faster than redigitizing all of your material.
If I understand correctly, your issue is not storage size, but throughput. Therefore, down rez (using compressor) all of your original material to the lowest acceptable codec for editorial that you can stand. We use Off-line RT HD. It looks like crap, but we can view almost unlimited multicams (regularly use up to 14 angles), the rendering is quick, and the storage used is small. The downside is that the frame size (pixel count) is smaller than the original frame so grfx, stills, text must be repositioned upon uprez.
In your case, PROres proxy is probably the best choice.
Once you’ve downrezzed, HIDE the original full rez media from FCP. Either dismount the volume, or disable access… however you choose to do it, make sure that for editorial, you’re NOT referencing that material. Edit with the low rez stuff, and then when you’re done, simply do a reconnect to the high rez.
Note: for this process to work smoothly, do NOT rename any of your clips.Mark
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If I’m looking to hire, I want a link, NOT a DVD.
I’ve got too many discs piled up already, and besides, then I’ll have to get up and walk over to the credenza, load it in, awwww forget it… I’m already looking at the link of that OTHER person I
wanted to hire!While there have been some valid suggestions as to why DVD’s may still be useful, in my world, by and large they’re DEAD.
Mark
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Louis,
No need to be embarrassed here. You get a free pass since “video” is not your primary language!
As for the other knuckleheads Shane’s ranting about… no sympathy!
To them I say: If you’re contemplating a new workflow (Like pluraeyes dual system audio) the professional approach is to research, plan, and do a test BEFORE you accept and start a project. Getting deep into it and THEN coming here for help isn’t a good career move.
Mark
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A tennis match with ONE camera… locked down?
Good luck!
I’d be thinking more about coverage options than frame rates or codecs.
Next time you watch ANY sports on TV, count the camera angles you seen
in any 30 second timespan. Upwards of 5-10 DIFFERENT angles.The action in a tennis match is like dialogue between two actors. Sure, you can cover it with a single camera, but two camera coverage gives you SO many more options. In tennis, the action on any point is best seen high and wide, but the drama between the opponents is best seen in closeup. Replays are a whole different discussion.
Mark