[Maurice Jansen]

one thing

DON”T PUT CHEAP $%#SS mixers in your recording/ ingest path.
in a monitor only situation get your self a behringer/mackie 4 0r 8 fader thingie.
when you want to have control of your recording / ingest/voice over levels get your self a decent mixer.
we use a good old STUDER 962 with a decent control room monitor section. simple but good all XLRin’s and out’s

greet
Maurice

[Maurice Jansen]

it’s a cliche

but don’t get in buisness with friends and family. NEVER EVER
but of coarse this will not help you.
don’t let it come in play with your friendship with your mutual friend.
if the guy aint reasonable don’t give him the footage.

succes
Maurice

[Maurice Jansen]

OOPS forgot the question 😉

do you guy’s have a other way to do this.
is there maybe a solution in mixing up a few systems.
like going DVB-C on the long run’s and breakdown to IPtv localy

greet
Maurice

[Maurice Jansen]

oops

forgot that DVCproHD is 4:2:2

you have a good setup

[Maurice Jansen]

hi there

ernie said

Shooting on DVCProHD is just a a format, like HDCAM, BetaSP etc, that doesn’t make any difference.

that’s not completly true doing Chromakeys with a 4:1:1
format is harder than with a 4:2:2 format (DVCpro is 4:1:1)
so if you have a choice try to find a format in 4:2:2

maybe an external recorder on the output of your camera

greet
Maurice

[Maurice Jansen]

well

time will tell.
i see all the BIG advantage’s of Filebased workflow. all i want to say is that robust future proof archiving is a bigger challenge then people might think. the point’s i tried to make is that there is more to concern then filetype only. i see people around me archiving on a consumer style harddisk even on big production’s. we got a DVDmaster last month of a project shot with 16camera’s and a big post-production budget delivered on a walmart DVD labeled with a Sharpie. (these things are scary)

i already have seen

[Maurice Jansen]

hi

You can’t make a blanket statement like that. If you buy well made optical disks such as Taiyo Yuden or Verbatim DataLifePlus they’re rated at 50-100 years (and some say that’s conservative). Don’t buy cr*p from your local office supply store.

sorry i indeed gone a bit fast here i indeed ment the bulk style DVD’s and CD’s
but alot of people i guess also a lot on the forum tto.don’t realise the big differences in quality.
this is of coarse because DVD/CD are also a consumer product. the proffesional tapeformat’s also have quality differences between brand’s but not that big (so more stable in general)

My guess is that in 20 years you’ll have an easier time finding something that can read a DVD data file easier than you’ll be able to find a BetaSP deck. A CD made and stored properly in the 1980’s can still be read by any computer. Try that with 1″ tape.

well i’m dubbing old C/B format tape’s from our archive almost weekly. 90% of them still run properly
only tape’s from the brand “memorex” are sticky sometimes. these tape’s are all stored in a normal room. even the lower quality format’s like Umatic still run. you already say it your self “made and stored properly” but this become’s harder and harder whit IT/Consumer format’s mixing up in proffesional enviroment’s.

that the deck’s will leave us and that all tape’s will become useless “TRUE” but i geuss this is also true
for codec’s and i have a strong feel that these become obsolete much faster.

i am defintly a tapeless enthousiast, but archiving still is a difficult and under estimated issue of tapeless.

greet
Maurice

greet Maurice

[Maurice Jansen]

well guys

don’t forget a few things.
optical disk have a SHORTER time span in losing there data then tape. when not proper stored.
tape is more forgiving in a bad storing place.
i guess only a few have a good conditioned archive down here. don’t forget that when you
are going to archive complete harddisk’s that you are also storing the precise electrical mechanical part of your system.who say that your drive will spin in the good RPM when it has not moved for ages.
not spinnig no data. you have more option’s when a sticky tape comes out of the archive.

next to that we still can playback all our C or even B format tape’s but will you be able to decode XDcam or Proress when we are 20years further i have strong doubt’s.

greet
Maurice

[Maurice Jansen]

wise words fellows

i guess your san is the trashbin the editor’s always dreamed off! never full, you don’t have to emptý it some body else does and when somthing is gone blame the other guy.

a archive/library is indeed very fragile. and i guess it become’s more fragile when more people use it. must there be a some sort of old wise gatekeeper that give’s you the files/tape’s you want and
become’s the devil when you don’t return it.

our editing-facility is a part of a biger facility doing all kind’s of stuff. till now all the editing and archiving was done on the same location. all the people knew each other and we actually still can find old B-format tape’s in our archive in split second. not talking about reanimating the old BCN 😉

but as the company grow’s there is a need to have a editsuite on a remote location. as there is no budget for a big datapipeline between the both, i run in trouble with the exchange of material. of coarse FTP/Yousendit is nice for a delivery format but what about ruff material. it now travels by a internal posting system on harddisk. not very efficient.

i guess it’s true about the tapeless domain. you never make a copy by mistake on tapelevel. throwing away a tape is something unnatural you alway’s think when you do this. tapeless has alot alot of good side’s but archiving needs so much more disaplin.

greet
Maurice

[Maurice Jansen]

well i don’t know what mic you use.
and i don’t know how wide your shot will be.
i really can’t tell. if it is staged try to get your self a way to confidence your recording (fast)
a retake can save your life

greet
Maurice