Michael Hendrix
Forum Replies Created
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Most solutions will work as long as the folder structure remains. You did not say if your workstations are PC or Mac. I have started buying these:
https://www.g-technology.com/products/g-dock-ev-thunderbolt
The dock is Thunderbolt and the drives are USB 3 when they come out. The only downside is the drives are only 1 TB. They have performed well for moving projects around.
Most projects that I work on travel to multiple locations so I will use shared storage as more of a backup tool and work off of the EVO dock. The solution you mentioned above seems like your are copying to many times. If you edit off your SAN, copy to a drive (like a G-Tech) that you can plug into your other system and edit from. This would keep you from the second transfer. After the final, as long as you haven’t created any new media, you should just be able to move project files around and re-link. Keep in mind your preview files will not go with the project files so any timelines that need rendering will have to do so.
I see your biggest challenge is organization and redundancy. Keeping everything organized will be crucial to making sure you have no missing media. I always keep a clean copy of original footage. Editing natively means Premiere is touching your original footage alot. I haven’t had any issues, but a few have had corrupted files which may not be Premieres fault, but a corrupted file is a corrupted file. A crash in the middle of any read/write function could corrupt. The good news is, keeping a copy of 35 mbps footage is much more efficient than 220 mbps ProRes.
Hope this helps some!
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Barry,
We moved about a year ago from FCP7 to PP CS6. We are still waiting to upgrade to CC (which should be soon) but our CS6 experience has been okay, not great. We have 7 edit stations and 3 main suites with Omneon (now Harmonic) shared storage.
I edit on CC at home which is miles ahead of CS6. I think CC will fix any problems we have with CS6. With that said, your workflow should work fine, just keep your media, graphics, audio and projects in the same folder. When you are ready, copy the project from your shared storage to an external drive. Plug and play. I do this all the time with CC on a iMac at home and a Macbook Pro that does have CC at work.
The only thing you may have to wait on is CC to generate the peak files.
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Not sure about CS6 but I know someone who just spent some time editing on a 2011 Macbook Air on Premiere CC and it performed well. He said the only issue came when he hooked up an external monitor.
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Copy the transition that you want to apply
hold your Command key (on a mac)
click, hold and lasso all of your transitions (like you would if you were selecting multiple clips with your mouse)
paste
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I concur with the MP3 issue, just alot of extra processing for the computer. Worst case, export a XML and import into another project. Might give you a clue as to if it is the timeline or your system.
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I never had great luck with PluralEyes, seems like it only worked between 70-80% of the time and the other 20-30% was a bear to sync.
At first it seemed like a chore but it would only take a few hours to sync 100% of my stuff(about 60-75 minutes of raw footage).
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My workflow is a bit crazy because I actually use the $40,000 camera for audio and timecode, mainly because we have the wireless drop in mics, but I shoot a 3 camera DSLR setup, audio and visual reference on the PMW-350.
The camera ops know to only stop recording when I say cut and as long as everyone starts and stops at the same time your are golden.
I take the clips into Premiere CC and build a timeline just for sync but I can stack each take ontop of the audio and sync in CC. Works like a champ.
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From what I have read, neither really offer any advantage other than a bit in price and preference. If your workflow is ProRes, certainly look at the top iMac. You can top it off at 32gb of ram and a 4gb video card. This config will still be cheaper than a Mac Pro with no monitor.
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They also probably want you to render the “raw(unedited)”footage into a format they can see/use.
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My suggestions, some you can control and some you can’t:
-Find out what kind of helicopter you will be flying in, this will give you a clue as to the job you have ahead of you. Two blade versus four blade makes a world of difference. It will also give you an idea of the power the helicopter has. Could help in how far the pilot will push.
-Are you shooting with door off? (assuming this is something like a JetRanger or LongRanger. Destabilizes the helicopter more but gives clear shot. Also burns more fuel.
-Get to know your pilot. Does he have experience flying for aerial shots? Let him know that you may ask but for specific shots but safety is the #1 and it is his call.
-Pre-plan your shoot with the pilot, before you take off. It gets harder to communicate in the air.
-Secure everything, especially if you fly with the door off. It’s not just for loosing a piece of gear, you don’t want a small piece of equipment flying out and into the tail rotor. This would be bad.
-Shoot with a IS lens. Anything else will be unusable.
-shoot with a monitor and be prepared to get nauseous. Happens to the best of us. Just get your bearings once in a while and you will be fine.
-The horizon is your friend. It’s equal to the level on your tripod.
-The unit that you researched is great. Anything like that would help.
Sorry if I stepped on your toes a bit, not sure of your experience with aerials.