Neil Sadwelkar
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I actually recommend FCP X to directors who wish to edit.
For someone unfamiliar with the actual interfaces, FCP 7, Avid, Premiere Pro, ask too many questions and create too many barriers before one can even edit one shot. Project settings, user settings, sequence settings, bins, media folders, project folders, media locations make the process complex for a director, who’s not a novice as far as film-making goes, but unfamiliar with NLE interfaces.
With FCP X, for, say a docu shot on a C300 or DSLR, the director simply starts a new event, drags media, scrubs through shots, and assembles a narrative. Everything stays in sync always, and there’s sufficient support for XML and conversion of XMLs so that his edit can translate to something else, even Avid. And everything gets saved to one place, its all saved all the time.
I do agree that, at least if they wish to keep the ‘Pro’ in the name, there should be a provision to switch off the magnetic timeline, and to have some kind of a ‘track’ methodology.
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Neil Sadwelkar
neilsadwelkar.blogspot.com
twitter: fcpguru
FCP Editor, Edit systems consultant
Mumbai India -
I’ve been using Diskcatalogmaker which is part of Toast titanium.
But I’m curious about Neofinder. How does it integrate with BRU-PE?
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Neil Sadwelkar
neilsadwelkar.blogspot.com
twitter: fcpguru
FCP Editor, Edit systems consultant
Mumbai India -
In Bob’s post, the link went to fcp.co’s home page.
The correct link for the article entitled ‘How to share Final Cut Pro X Libraries on a network using NFS’ is…———————————–
Neil Sadwelkar
neilsadwelkar.blogspot.com
twitter: fcpguru
FCP Editor, Edit systems consultant
Mumbai India -
If I remember right, there’s a setting in Avid where you set colour space to either RGB or YUV. FCP expects YUV from imported Quicktimes.
Not sure if this is the right answer.
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Neil Sadwelkar
neilsadwelkar.blogspot.com
twitter: fcpguru
FCP Editor, Edit systems consultant
Mumbai India -
I get what you’re saying, Bob. And good points raised by others who responded too.
I too earned a living as an editor in India in the nineties and 2000s. And then worked at managing large post facilities.
Out here in India, the exact same situation is emerging.Large post house – telecine, SAN, grading theatres, Avids, Smokes, Quantels, VTR-laden machine rooms, routers, wiring – are rapidly being replaced by smaller digital file-based systems.
I run a small boutique place with the best talent who work on a freelance basis for me. So I’m using a different model. I no longer rent out facility or equipment. I rent out talent. Myself and my friends and colleagues. I’m urging offline editors around me to do the same, rent themselves and absorb the cost of the equipment.
When it comes to specialised jobs in post – editing, sound editing, finishing (online), sound fix and mix, colour grading – the tools are cheaper, and affordable, so everyone and his dog has gone out to buy one. And then, they try doing it themselves. And then they pay for my services.
I think in this new world, we post experts will actually do better financially compared to the old system of a businessman-run facility investing in equipment and us working as employees for a wage.
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Neil Sadwelkar
neilsadwelkar.blogspot.com
twitter: fcpguru
FCP Editor, Edit systems consultant
Mumbai India -
Actually, since FCP X supports the import of a large variety of camera files – including ArriRaw using Glue-Tools, Red with the Red workflow installer, and of course most small camera files, why not just use FCP X as a MAM.
Meaning, on a separate workstation with a large drive connected, one imports files, keywords them sorts them in events and stores them in a separate library. No files are copied to the library, but proxies are made for all. If one wants to save space, the one can make the proxies as SD files.That way, the FCP X Library or Libraries *are* the MAM and can be transported around in drives. Anytime you need to search files you can search them by keyword. And the bonus is that FCP X is an editing system so one can even edit a few together, or import a project and audition files from this ‘stock’ library. Or even composite them if needed, or colour correct them, something no other MAM can do.
Just thinking aloud after seeing the KeyFlow Pro demo.
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Neil Sadwelkar
neilsadwelkar.blogspot.com
twitter: fcpguru
FCP Editor, Edit systems consultant
Mumbai India -
Was at a (cyl MacPro) system today with a similar problem. Found 48 GB of Attic files in the user called ‘Shared’ where Avid stores its Attic by default.
Not sure of this is relevant, but thought I’d throw it in here anyway.
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Neil Sadwelkar
neilsadwelkar.blogspot.com
twitter: fcpguru
FCP Editor, Edit systems consultant
Mumbai India -
May not be related to your issue, but I once found large amount of cache files stored by DaVinci Resolve in the .gallery folder. It might help to look at your SSD with something that can see hidden files. Maybe by going into target mode and using another computer to look at your SSD.
Also, I’ve found in some instances emptying trash doesn’t seem to give back space.
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Neil Sadwelkar
neilsadwelkar.blogspot.com
twitter: fcpguru
FCP Editor, Edit systems consultant
Mumbai India -
If you’re worried about supporting a 16-bay on four front screws, then get support angles to place below your RAID and then slide it in.
Rails are something you need for a device that needs to be slid out periodically – like VTRs for maintenance. RAIDs seldom need to be removed. If they do, then you’ll need to take it out completely and take it to a work table for working on it anyway.
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Neil Sadwelkar
neilsadwelkar.blogspot.com
twitter: fcpguru
FCP Editor, Edit systems consultant
Mumbai India -
Tim,
If someone gave me 48 TB to backup, on one contiguous drive, I would definitely do the spanning thing instead of micro-managing the tape backup.
How we get data is one of two ways.
During shooting each shoot day creates, 400 GB- 1.5 TB of data. This is sent to us on drives of 3 or 4 TB either daily or couple of times a week. We backup data and send back the drive and the tape to be kept at different locations. So, if the data is less than one tape’s worth, we either don’t start backup unless we have at least 2 TB, or just backup anyway depending on schedule. So, data is received in about 2 TB increments.Later, if at all the production has any issue with the hard drives, we are called upon to restore specific day’s data. For this, there has to be some way for the human at the other end to pull out the specified tape to send back. And that’s labelled so its easy. A spanned data set would mean we have to ship all tapes in that set, right?
Second, sometime we need to backup an entire film’s data of, say 52 TB sent all at once. This 52 TB is spread over, say, 6 RAIDs of 10 TB each, or often 19 drives of 3 TB each. So, while its possible to span each RAID of 10 TB, spanning drives of 3 TB into ‘mini-sets’ of 2 tapes is also wasteful. The drives themselves have anything like 2.3 to 2.8 TB data on them, usually stored day-wise.
So, backing up day-wise and letting space go ‘in the end’ of each tape is the easiest solution for labelling, storage and restore.
We often need to restore specific shots form these tapes, or specific sounds. These are specified to us by file name and date of shoot. So tracking back the tape is easy. Particularly since the tape may be stored at a faraway location.
I know a lot of this can be fixed by using barcodes instead of human readable labels, but most of the LTO storage locations are private offices or homes and don’t necessarily have that facility.
But one question. Supposing I did backup 48 TB into one set of, say 21 tapes. And send off the tapes and drives.
Later, if someone asks me to restore a specific file or folder, can I restore with only the concerned tape/s? Or do I need the entire set of 21? This is significant because backup tapes are often shipped out to faraway locations, so shipping back would be required.
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Neil Sadwelkar
neilsadwelkar.blogspot.com
twitter: fcpguru
FCP Editor, Edit systems consultant
Mumbai India