[Neil Sadwelkar]

So the clients are Win PCs that mount the storage within Windows, right? What are the clients used for? Editing? Or some other task?

A fair bit of the posters here explore storage for Mac editing workstations, mostly FCP. Avid users generally seem satisfied with Isis, or the older Unity or Lanshare.

My observation with Windows, or WSS storage, shared between Mac workstations is that it generally works fine, but as a NAS. As a shared storage for Mac Avid or FCP clients it doesn’t seem to work consistently.

But then I haven’t spent as much time deploying Win based shared storage as I have with XSan, or AFP based sharing.

———————————–
Neil Sadwelkar
neilsadwelkar.blogspot.com
twitter: fcpguru
FCP Editor, Edit systems consultant
Mumbai India

[Neil Sadwelkar]

Bob,

I think it’s piddly, not pidley.

———————————–
Neil Sadwelkar
neilsadwelkar.blogspot.com
twitter: fcpguru
FCP Editor, Edit systems consultant
Mumbai India

[Neil Sadwelkar]

You can have 4, 8, 12, 16 channels in QuickTime out of FCP. Broadcasters have begun taking multiple-channel QuickTime ProResHQ 1080 files as submission now.

You need to set your sequence to have 4 channels. Then in sequence settings, go to the Audio output settings and set the sequence to 4 channels set as 2 stereo pairs or 2 dual mono pairs as needed.

Then, in the timeline, to the extreme left you can right-click and assign each track to it’s corresponding number output from the drop-down. Ch 1>1, Ch 2>2, Ch 3>3, Ch 4>4.

Now, when you do a File > Export > QuickTime, you will have a QuickTime movie with 4 audio tracks in it.

———————————–
Neil Sadwelkar
neilsadwelkar.blogspot.com
twitter: fcpguru
FCP Editor, Edit systems consultant
Mumbai India

[Neil Sadwelkar]

You could check the disk for errors.

———————————–
Neil Sadwelkar
neilsadwelkar.blogspot.com
twitter: fcpguru
FCP Editor, Edit systems consultant
Mumbai India

[Neil Sadwelkar]

I think the original article being referred to showed figures to prove that the post production ‘business’ was on the decline. Not post production the occupation. Time was when one had to go to a facility which had a telecine, linear suites, Avids and Smoke/flame systems that ran into millions of dollars, which made up the post production ‘business’. And it flourished, too.

Today, post production continues, and will also possibly show a growth, but as an occupation. People that need to do post have got their own gear as owning gear is so affordable that a reasonably successful editor can afford. Why, some finishing artists and colourists could possibly afford their own finishing and grading gear. Filming is getting increasingly digital, doing away with a range of super expensive equipment.

This is a decentralization of the business, in a way.

Also, if I remember right, the figures are for the US. In other parts of the world the figures may differ. Possibly show a growth too, in some countries.

———————————–
Neil Sadwelkar
neilsadwelkar.blogspot.com
twitter: fcpguru
FCP Editor, Edit systems consultant
Mumbai India

[Neil Sadwelkar]

I’m an FCP user, editor, and consultant in helping sell the Alexa in my country. I have ready access to an Alexa, and multiple FCP systems of various vintages, and some very new ones too.

About the LUTs within FCP via a filter, I second the concern about long render times. If it’s any help, I think Blackmagic cards permit using a LUT during monitoring. Not sure if these permit colours to be baked in the HDSDI output, but one can try.

Also the HD-Link Pro allows LUTs to be loaded. This could have some potential for on-set monitoring without needing render.

If you’d like to test I’d love to be of help. But I’m in India.

———————————–
Neil Sadwelkar
neilsadwelkar.blogspot.com
twitter: fcpguru
FCP Editor, Edit systems consultant
Mumbai India

[Neil Sadwelkar]

No you can’t see a ‘source timeline’ in FCP. But the JKL for play rev-pause-play fwd work as well as jjj or kkk to speed up playback either direction work for searching. Then to home in on the frame you an use the right and left arrows.

Then M to place a mark. M again to rename the marker. We use this to create hundreds of subclips in feature film projects where one gets a ‘roll telecine’ and one needs to subclip all takes of all shots.

———————————–
Neil Sadwelkar
neilsadwelkar.blogspot.com
twitter: fcpguru
FCP Editor, Edit systems consultant
Mumbai India

[Neil Sadwelkar]

Or open the clip in the viewer, place markers where you want to mark points of interest, and name the markers. You can even name markers in the browser.
After you’re done marking, highlight the markers in the browser, then do a Cmd-C and Cmd-V to another bin… and you’ll have subclips. And the original clips will also be tagged.

———————————–
Neil Sadwelkar
neilsadwelkar.blogspot.com
twitter: fcpguru
FCP Editor, Edit systems consultant
Mumbai India

[Neil Sadwelkar]

Wow. This is amazing. Not in a very positive sense. I’ve yet to see this much deviation between FCP, Quicktime, conversion by a 3rd party app, and final display on web.

Since I’ve not yet used Squeeze in a large way, and do almost all of my conversions in Compressor, what is your experience with the same movie done in Compressor?

Also, did you try the “Enable Final Cut Studio color compatibility”. Not that it would change anything in the H.264 or web, I was just wondering if it would ensure that the FCP Canvas and QT Player both show a compatible image.

I need to run this as a trial on my system and check how it goes.

Please post when (if) you find a fix to your situation.

———————————–
Neil Sadwelkar
neilsadwelkar.blogspot.com
twitter: fcpguru
FCP Editor, Edit systems consultant
Mumbai India

[Neil Sadwelkar]

The conversion to ProRes LT that you get done elsewhere can be done in-house. Third party apps like Clipfinder and judicious settings on a fast machine can get you conversion near real time.

Regarding working in Avid native, with import via AMA, this works fine if your system and drives are fast. And clips are few and sequences short.

On long form work, with thousands of clips, and where making an AAF/OMF/EDL in the end is needed, conversion is often inevitable. I’ve seen issues particularly with 24fps in PAL which make conversion (transcode) in the end inescapable. And if you have anything else in your timeline – film, video, Canon etc – then conversion is advisable.

But, as with these things, someone else’s experience, as indeed your own, may be different. Therefore it’s YMMV.

As for working with Premiere Pro just because it allows native format editing, I’d recommend getting. Trial version of Premiere Pro and actually editing in it to gauge how comfortable you are in that app and how well you can edit in it. Else, whatever time you save in not converting will quickly be offset by a longer time in the edit process.

———————————–
Neil Sadwelkar
neilsadwelkar.blogspot.com
twitter: fcpguru
FCP Editor, Edit systems consultant
Mumbai India