Mark Smith
Forum Replies Created
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LTO is a linear tape storage system – sort of like DLT but the stotage densities are much greater. LTO 5 which is some years old is 1.5 TB/ tape, LTO 6 is 3.0 TB/tape, LTO 7 is 6.0TB/tape I have an LTO 5 which is far from the latest greatest but still works well. As camera original files increase in size going from 50mbps 1080 to 160 mbps 1080 and higher, UHD, 5K, 6K etc. the desirability of LTO6 & higher becomes apparent.
Last year I had a client come back to me to retrieve a file that was shot in 2010, stored on disk for a while and then migrated to LTO 5 in late 2012. I loaded up the tape, retrieved the files without drama. Keep your tapes stored in a stable room temp climate and they should be good for up to 30 years or so goes the claim. -
I have an LTO 5 drive that I use for backing up camera originals and edit libraries. Very similar to DLT just more capacity and it takes the worry out of a drive not booting up when I need the original camera card or edit project.
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I use the spherico VCC app when I need to import footage that was originally captured on tape and has since been converted to QT’s and stored on a drive. VCC works well and fools X into thinking the QT movie is a camera card confering the benefits of being able to select a range or multiple ranges inside the QT movie for import as if it were a camera card.
This little app has saved me from brain damage caused by banging my head against the wall realising that I need to import 2 hrs of QT movie from an archival tape just to be able to get the 5 minutes of footage I want… -
I just checked some over crank C300Mk2 files with canon XF utility. even though I was shooting 60fps, the frame rate reported in meta is 23.98. I do not see a field for shooting rate in their metadata …
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I agree- it seems that the metadata in X always reports the base frame rate whether it is 23.98, 25, 29.97 and not the actual shooting frame rate. It would be nice if the off speed shots were noted as 60/23.98 so they could be easily searched in the browser.
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There is a little white- ish < in the header of the time line just to the left of the compound clip name ….
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That’s a great tutorial and while I’m too far down the road now for this workflow I’ll def remember it in the future. My wife who happens to a X editor in her own right has pointed out that she has had issues where there might be a few frames difference between the temp and purchased versions of a music cut and in that case this really snazzy workflow might not work….
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10.4.4 has been good here. I would like to see the ability to drag and drop key word names in the event browser into an order I determine as opposed to the default ( and only sorting method).
I’m liking the workflow enhancements – Frame IO and Simon Says so far.
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I generally will make edited music into compound clips to “lock it” as much as possible. Then I just have that one compound clip connected at one point to the time line and not a bunch of music edits connected individually to the time line.
In the case of these projects, the edited music is already compound clips so once I get the clean tracks, I’ll try the relinking trick first and if that doesn’t work I”ll head towards plan B which is replacing the music in compound clips by lining up WFMs. -
I tried the multicam clip route and that worked. It also gave me a clue as to why the synced clip was black. THe multicam clip – the audio and video clips were about 57 minutes in length- took a while to render and so the clip appeared blacktill after the render. The synced clip attempt I made could have had the same problem and I just didn’t realize it at the time. THe first pair of clips I synced successfully were each about 17 minutes and that happened super fast. The fact that the near hour clip took extra time might have been what threw me off. In any case I have synced clips I can go to work with .