[Mark Raudonis]

Makes me want to go fishin’ !!!

Great looking keys. If I wasn’t warned, I’d a thought they were live shots, not keys.

Mark

[Mark Raudonis]

We’ve had SS8 for a few years now, but I have to agree with Walter… it’s got “TMI”.

The value of this kind of program will ONLY be realized if EVERYONE is using it. In our case, that would
mean every editor in every room logging in and adding their info on a daily basis.

Bottom line, I like the program. Getting everyone to really use it has been an uphill struggle.

I think Walter’s approach of developing exactly what we want rather than conforming to what’s available is a good way to go. You’ll get a custom solution that addresses your real needs.

Frankly, I do more with my own Excel spread sheet than any of these programs. That one “dashboard” gives me all the info I need.

Mark

[Mark Raudonis]

If you’re looking to spend a lot of money, and these days, who isn’t, you can check out
“Stornext” which is the PC version of Apple’s X-SAN. These two file systems are “allegedly” compatible, but I’ve never tried it myself.

https://www.quantum.com/Products/Software/StorNext/Index.aspx

mark

[Mark Raudonis]

[Peter Shwartz] “am I running myself into bigger issues than that with trying to combine these two? “

Duh! Why are you starting out with two distinctly different formats? It is incredibly naive to think that
the post process is going to go smoothly. Do yourself a favor. Insist that this project start off on the right foot… that is, by NOT mixing and matching every codec ever invented.

This is common sense. You’re essentially asking: “I have a brand new car. Can I swap out two of my four tires for a different brand and size? Sure you CAN… but you’re not going to get the same performance the designers intended.

Mark

[Mark Raudonis]

Every interview we shoot is greenscreen/XDCAM HD.

We use “Ultimatte: Advantage” and After Effects for our compositing. If you’ve lit it properly and
shot well, the results are acceptable. Otherwise, you’re in for a bag o hurt.

Mark

[Mark Raudonis]

Darren,

I think what Bob’s trying to say… in an uncharacteristically NICE way… is that this stuff get VERY complicated very quickly. The minute you go beyond two connected computers you get into a whole
different level of IT considerations. Yes, you want to spend as little as possible and yes, your CURRENT needs are modest. But, if you’re anticipating any future growth, and if reliability is required, my advice would be to NOT cheap out.

“Who to hire?” Well, you’ve just communicated with him… MR. Z.

Mark

[Mark Raudonis]

[Ian Liuzzi-Fedun] “I have seen quite a few articles saying that allowing us to shoot in DVCPro, HDV, etc allowed us to do this, that, and the other thing.”

In my opinion, that is mostly BS driven by manufacturing marketing dollars. A crappy consumer camera in the hands of an award winning director of photogrphy, with a feature sized lighting budget behind him will look great regardless of the codec used.

You’re focusing too much on the technology and not enough on the art.

Mark

[Mark Raudonis]

300 sequences? Holy Cow! That’s alot of sequences.

Can you “off-load” most of those sequences into another project, thereby slimming down the
project that you use every day to a more manageable size?

Remember, FCP can have multiple projects open simultaneously. Unlike Avid, there’s NO NEED to
keep all your media, projects, etc. in ONE project. If you do, chances are you’re going to a) get corrupt files, or b) have very slow operating times. I’d suggest having a separte “Archive” project where you
keep everything but your most current sequences.

Mark

[Mark Raudonis]

If you’re in North America:

https://servicesplus.us.sony.biz/sony-software-model-PDZKP1.aspx

[Mark Raudonis]

[Andy Cahill] “experiment with a kind of flicker pattern that I’m using.
“

If you’re just trying to get a flicker pattern, there are plenty of plug ins that will do it.

Do a google search on “Flicker plug ins for FCP”. I found plenty.

Mark