Matthew Nelson
Forum Replies Created
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I’ll also join the chorus in praise of ProRes. It is an excellent codec but as far as I know it is not a codec Avid works with.
As for shared storage solutions they are spec’d out in terms of bandwidth. How many steams of whatever can it support. With the number of seats you are talking about you’ll be spending a good chunk of change so I’d have the reps of Xsan, Metasan and Editshare come to you and pitch their respective systems. Then you can judge what works best for your house. But no matter what system you choose get a professional to do the installation. Shared storage is a tricky beast that will severely punish those who do it half a****.
Matt
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Could you provide some details on your set up. Type of mac, OS version, FCP version, Media drive setup, RAM, etc.
Matt
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This solution will only work if you have room at the head of your sequence and your markers are attached to the sequence and not the clips. It goes something like this if your sequence starts at 58;30;00 and program starts on the 1 hour. You can duplicate the sequence and resent the starting timecode to 59;00;00. Then shift your media to the new 1 hour location and all your markers will shift forward 30sec as the program shifts back 30sec.
Matt
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[Michael Escher] “When I have done similar work in AE the easy-ease, easy-ease out, and other “ramping” keyframes softened the movements and made them feel more organic. Are there similar controls for FCP?”
Yes FCP does have an easy ease option. Set your keyframes then in the Canvas window right click on the keyframes you what to easy ease. A context menu will appear and you can select easy ease. Easy ease will give you bezier handles with 2 control points the out adjusts the interpolation path. The inner adjusts the interpolation distribution.
Enjoy!
Matt
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HDCAM is an 8 bit 3:1:1 DCT compressed format, topping out at about 140MB/s which translates to about 500GB/hr. Your storage depends on the codec you choose to didge the media. You can didge as dv or 4:4:4 uncompressed. For HDCAM 8bit uncompressed surpasses the quality on tape. Or you could also just as easily use ProRes HQ and still keep up with HDCAM.
[Matt Press] “Thanks but I keep hearing the rule of thumb is a TB an Hour.”
Only if you are using HDCAM SR or didging with ridiculously high codec.
Matt
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Depends on the bit rate. You can DL a widget called video space that will calculate storage for you.
Matt
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The quality question is something only you can answer by testing. Is the difference between ProRes HQ and uncompressed worth the bandwidth hit. ProRes HQ is being used for broadcast HD so it’s no slouch. It’s the HD exhibition needs that I’d focus on. If it looks good projected it will look good on DVD. To give you a frame of reference for 1080 29.97 ProRes HQ is about 30MB/s per stream needing about 100GB/hr and 10bit 4:2:2 uncompressed is about 150 MB/s per stream needing about 550 GB/hr.
Matt
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You are asking quite a bit. First you need a video I/O device that works with HD-SDI either a card like a Kona3 or Decklink HD or firewire like an AJA IOHD. Which one is right for you is a thread in itself.
You need to find out what level of quality your deliverables require because there is a huge bandwidth difference between ProRes and 10bit Uncompressed.
Bandwidth capacity is much more critical than storage capacity when it comes to media drives. What good is having 5TB if it drops frames. Your bandwidth requirements are dictated by the previous quality question. But there is a widget from digital heaven called video space that will calculate storage space for you.
Matt
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After testing I found that Decklink is +4 on the frame offset so you are right on target.
Matt
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Whatever your final deliverable format is that’s what you should edit in. If your deliverable is NTSC convert the PAL footage to NTSC and edit away. Compressor in the advanced format conversion folder has presets that will do standards conversions, but it is a render hog. I’m talking 60:1 ratio, but it is free.
Matt