Michael Phillips
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COW Coin
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You do so via EDL Manager. Check the User Guide for EDL Manager.
anything 24fps
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Are you in a progressive project?
anything 24fps
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There is something to be said about formats that are also their own archiving format such as film, tape based HD, SD, etc. The same goes for the audio world – recording to a DVD-RAM or to a FireWire. In some cases, you just hand over the assets and you leave. In others it will require you to copy to another drive format for transport and archive. Think of the Panasonic P2 camera as training ground for all of this…
In the case of a higher resolution file based camera, regardless of camera manufacturer, archive and transport will present challenges (AKA opportunities) in the workflow. For a 4K workflow, anticipate lots of storage. First there are the drives that are on set capturing. These drives then get moved – most likely there will be an archive at the same resolution. Also, the archive may involve a transcode to a DPX type format depending on whether RED releases its native EAW format, or not. So same size drive, but speed of drive is not an issue since it is for archive. Could be tape or optical as well. Then there is the issue of what format will be used for editorial. No one will be editing 4K native due to size and bandwidth. The 4K files will be used for conform. So another transcode will be done to either SD or HD, most likely a low bandwidth HD such as DNxHD 115 or DNxHD 36. So that will need additional storage albeit not as much. DNxHD 36 will need about 305GB for 18.5 hours of material.
There is time involved with transcode so that will need to be scheduled, most likely something on the set within the video village. The capture drives may have the ability to play out over a dual link to an HDCAM-SR in RGB 4:4:4 mode for a submaster into post. This will be near 2K 1920 x 1080 in RGB space. This is what is being done now with other file based cameras.
Welcome to the world of files… and management… and backup, backup, and backup. Just an FYI, FireWire drives are not the most long term reliable format for archive – great for transport though.
Michael
anything 24fps
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Depends on the program type – for the most part, films, drama, and sitcoms do the edit first to meet story, time, etc. and the music is that added as needed to bring further enhance the story being told.
Michael
anything 24fps
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The sequence does not have to be in the same bin, any open bin will show media relatives from the sequence. The issue with a column just showing used is if two or more sequence use different media.
If you want a quick view there are two other ways:
1) Open MediaTool for and select drives and project. Select sequence and do a media relatives. All clips will highlight. No need have bins open.
2) Don’t have a system in front of me, but look in the user guide for “set bin display”. Put sequence in its own bin and use that.
Michael
anything 24fps
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The concept is the same, when the signal comes over SDI is is already decompressed to an uncompressed stream – 1:1 would preserve your sources as the highest quality in standard definition. Other than native DV resolutin capture, when selecting an Avid JFIF resolution, the signal is decompressed to uncompressed then captured –
Michael
anything 24fps
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The footage gets decompressed to an uncompressed stream then captured at 2:1 so it is not an additive compression on the image. When it is recaptured from the uncompressed stream, it is also 4:2:2.
Michael
anything 24fps
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Only certain progressive resolutions are supported in Xpress Pro – 1:1, 2:1, and 3:1 are not supported at all. 14:1, 28:1, 35:1, DV 25 and DV50 can all be played back. DV25, DV50, and 28:1 can be created. Software based Media Composer supports all of them.
Michael
anything 24fps
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What are you using to extract? Also try putting the extracted installer on a DVD then install from there. In the past that has worked.
anything 24fps
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There is no problem in doing this, but the date and time is also useful information. There is a Shoot Date column that should be used for that type of metadata. Add the Shoot Date column to the bin, hightlight the Scene column with the date and time, and do a ctrl-D or cmd-D and select the Shoot Date column.
Then replace the Scene with the proper information.
Michael
anything 24fps