Mark Raudonis
3
COW Coins
Forum Replies Created
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Nate,
To answer your questions:
Yes, it’s real. Yes it works. Yes it can stream HD video.
Keep in mind that when you go to the web, you’re no longer really HD. Every thing gets compressed down to a very limited bandwidth. However, you can certainly start out in HD, and that should give you a better looking image. And… it’ll be 16 X9.
Considering the equipment that this program replaces, $495 is a bargain.
Setting up the internet connection/streaming is not for an amateur. Further, you’re going to have to contract with someone like Akami to handle the load. If you think you can just put it on a spare server and tell the world, “come and look”, you will crash and burn. Only a major provider has the bandwidth to support multiple streaming.
Mark
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“every single clip is slipped 2-4 frames off! Without fail.”
If every clip is off, then I’d suspect a deck issue. Have you used this deck before? Has it worked successfully for you? If so, what’s different about this project?
Check your sequences and timecode settings. Is your sequence at the same framerate as your source tapes? There’s a million things to check. I’d suggest doing a short test sequence to verify every step of your process… starting with the deck.
Mark
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Martin,
I would suggest that you do NOT change any clip names EVER!
FCP uses the clip names as its ONLY way to manage the media and therefore, changing the names and then expecting it to magically find it’s way back is unrealistic.
If you want to add descriptive info to the clip, use the “notes” column. If you want to reorganize your clips with a different naming structure, then I don’t think you can expect to get back to the original clips very easily.
Unlike Avid, FCP does not use a unique filename “stamp” on each clip. Therefore, the filename you started with is what is needed to continue to successfully manage your media. In a networked workflow, this is even MORE critical. One person can ruin everyone else’s day simply by changing the filenames.
Mark
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FCP is the wrong tool for the job.
Here’s what you want: https://www.varasoftware.com/products/
It’s called “Wirecast” and it takes a firewire signal (SD or HD) from your camera and basically turns your computer into a complete switcher (with audio). You can also stream live to the internet with it.
Pretty remarkable program. Costs around $495. I’ve used it for live to the internet four camera shoots (all green screen). Two thumbs up from me.
Mark
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jeremy,
Yes. If I understand your situation correctly, Compressor can do what you’re asking.
Specifically, if you’re creating something in AE, and rendering it, the step of creating an H.264 for the web has nothing to do with FCP. So, you do NOT need FCP, only compressor to accomplish this. For example, we create a self contained Quicktime (either from FCP or AE) then use distributed rendering to create the h.264. By harnessing over 50 computers to do this, our rendering time has gone from hours to around 5 minutes. We do not have an automatic “watch folder”. You’d have to read the manual to see if that’s possible. I don’t know.
Mark
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Your data transfer rate is dependent upon the speed of your drives, the nature of your “Raid” scheme, and the number of spindles (drives) within the raid.
The raid controller can also add some “overhead” to the load, thereby reducing the transfer rate. Apple has these facts and info on their website. Keep in mind these figures are like gasoline miles per gallon ratings… your mileage may vary.
Mark
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Don’t know exactly what you mean by a “network” ’cause it can mean different things to different people. I can tell you that we have many FCP systems connected by a network to X-SAN, and we use compressor all the time. Yes, the job is submitted over the network, but if you really want to do this, it’s a bit more complicated than you think.
Depending on the resolution that you’re using, the basic ethenet network is probably going to choke. Gig E at the minimum and fibre channel would be better.
Finally, if your are on a network, that means access to more than one computer, and so you have the ability to take advantage of “distributed rendering”. That for us is the best feature of compressor. You can harness all of your idle computers and render things out in an incredibly short timespan.
Good luck.
Mark
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jon,
It’s as simple as you think. Each channel is more through put. Hence, a dual channel card carries twice the data as a single.
The higher the resolution, the more you need this. Example: Even though our G-5’s have “dual Channel” cards, we only have a single fiber cable connecting to the X-SAN. However, we primarily work at off-line resolution, so our bandwidth requirements are low. In contrast, our on-line rooms use BOTH sides of the dual channel card for increased bandwidth.
Mark
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Alpha dogs in Burbank.
They have something called the “Digital Service Station” set up to do exactly what you need.
Ask for Terry Curren.
Mark
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For the speed FX: You’re hosed!
Recreate by hand. One clue: if you look at the key frames you’ll often see a “random” key frame” which sends makes your new ramp totally whacked. Deleting that key frame often puts you back to the original intent.
If you’d started in FCP, you would open BOTH your off-line and on-line sequence to observe which key frame was random. But, you’re coming from AVID (not a good idea) and therefore, you’re toast. Sorry.
Mark