Michael Cheung
Forum Replies Created
-
It seem a bit too much of a coincidence that all the quicktimes will stop around the same time when copied separately.
Also a coincidence that this would happen on multiple different quicktimes.
Which makes me think that the copy process is the problem when hitting a some weird 150GB limit. Is your computer or hard drive or something going to sleep at around the same time as it takes to copy that amount of data?
Could it be the cable to the elephant drive?
Have you thought about take the drive out of the enclosure and inserting directly via sata?
There are some suggestions online regarding the error 36. For instance, deleting the hidden .DS_Store file in that directory and then adding any file to the directory (which will replace the .DS_store file) seems to solve problems for some people.
I don’t know the interfaces that are available to you, but maybe try USB connection, yes it’ll be slower but might work – different protocols.
I would strongly suggest taking the drive out of the enclosure and straight into the mac aswell – I like opening things up. doesn’t always work 😉
Michael Cheung
https://filmcutter.blogspot.com -
Maybe try cloning the drive? Or perhaps plugging into a windows machine with Mac drive installed? I don’t know what the problem is, just thinking of different ways to copy the file. What if you copy and paste within the same drive? What if you share the drive and copy over the network? When you copy the file are you able to monitor the resources to see if there is some sort of memory leak-which when you run out of ram finally crashes?
Michael Cheung
https://filmcutter.blogspot.com -
Of course things change if you want to grade yourself or edit natively. I missed the avid 4k event on Thursday in London so can’t really help with that. But offlining with what you have should be no problem.
Michael Cheung
https://filmcutter.blogspot.com -
In my opinion I’d transcode everything in Resolve to 1080p Avid DNxHD36 and depending on how much you shoot you probably won’t need to change anything for the offline.
Then conform and online in Resolve.
Michael Cheung
https://filmcutter.blogspot.com -
Mark is correct to point out that productions should pay for archiving and working media. However, I also understand what it’s like when starting out (if that’s where you are in your career) where you are trying to take on as many projects as you can and not charging what you would charge ideally because the short films don’t have budgets. It’s not ideal, but this is what happens.
I think it’s important to understand the technology that you have in your possesion and be clear to clients who can’t afford to pay what they should, that you are not archiving their project forever. This way you are able to streamline what technology you have into a stable environment.
Mark is also correct to point out that you are limited by your connection speed to your external drive. However, the drive you mention is a 2 drive raid, so you only have 3 options, Raid 0, Raid 1 or JBOD. I still think with (presumably) a firewire 800 connection you’ll want raid 0 and backup to your slower drives. But it’s a good idea to test it. Understand the limits. What happens if you are cutting with ProRes 422? and ProRes 422 HQ? What if you go higher? At least then, you know how you need the footage from the client.
Michael Cheung
https://filmcutter.blogspot.com -
Hi there,
You seem to have quite a combo of different hard drives there, one of the more annoying side effects of working in this industry.
First, raid 0 is where the data is written across two hard drives meaning you can write and read things quickly. Raid 1 is where the second drive is a mirror or a copy of the first. The first has the benefit of double the capacity, higher speed, but if you lose one drive…you lose all the data. The second, raid 1, you are OK to lose a drive and your data is safe. But it’s slower and half the capacity. Assuming your raid is a 2 drive raid, those are the only two options you have for raid configurations.
I recommend you setup your raid in raid 0 as your main media drive. I recommend you set up your 3tb external as a daily backup to that raid. This 3tb can also be a backup of your OS drive.
Your 7200rpm drive can be your project and render drive? Your other gdrive could be the backup to this drive.
The way I like to set up is having everything run as quickly as possible and backup to another drive.
Michael Cheung
https://filmcutter.blogspot.com -
As a vfx editor I do this workflow a lot. I export a QuickTime from avid as same as source, in the case of the feature I’m on now, I export dnxhd 36. I import that into aftereffects, and comp whatever I need to comp. Then export in same codec and import into avid. Avid will fast import (essentially rewrap as mxf) because it is in avid dnxhd 36. In your case, I’d do as we suggested and import the original still into after effects, do the comp and export a QuickTime in whatever flavour of dnxhd your project is in.
Good luck!
Michael Cheung
https://filmcutter.blogspot.com -
I agree, presumably you want to use After Effects in order to retain quality when you zoom in – which you won’t do if you use the media that Avid created when you imported into Avid.
Michael Cheung
https://filmcutter.blogspot.com -
Should be fine to do as you’ve tested. Just keep updating the editor with new avid media as it comes in. At this point it would be a good idea to”lock off” your media folder within the “Avid Media Files” folder (just rename the “1” folder to “141109” – today’s date) then the new media that is created will be put into a new “1” folder by Avid.
This will allow you to track what you’ve given to the editor already.
Michael Cheung
https://filmcutter.blogspot.com -
OK, now is your time to shine then!
If I were you, and there are lots of different ways to skin a cat, I’d download Resolve Lite. It’s free and pretty easy to use. There’s no need really to go into any of the difficult colour grading stuff, you just want to transcode.
What was the film shot on?
I don’t like editing anything using AMA because you have to have the Raw ONLINE the whole time. At least when you work with offline material it’s much more mobile, reliable and native to Avid. You don’t have to worry too much about the connection speed between your external drive and the computer for instance.
Are you Mac or PC?