Oliver Peters
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And this:
https://www.provideocoalition.com/talking-remote-editing-with-the-expert-michael-kammes/
– Oliver
Oliver Peters – oliverpeters.com
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Bunch of resources and links – see new thread above
– Oliver
Oliver Peters – oliverpeters.com
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[Rich Rubasch] “We hand off hard drives, all have the same footage and our own project files etc.”
If all they are doing is creative cutting and then only one person handles the finishing with high-res media, you can use something like Frame to move low-res proxies between you and them. Saves the time it takes to copy multiple sets of drives.
[Rich Rubasch] “I think the issue of sharing projects and media and sequences is the myriad of ways to configure systems, Mac and PC OS and plugins.”
Yep. Plug-ins are usually the issue. The best way is to limit everyone to a stock set of common plug-ins, such as the stock install, or a build of BCC or similar. The best set of stock plug-ins comes with Resolve.
[Rich Rubasch] “Bill’s not, apparently.”
Bill is self-contained. He’s not collaborating with other editors that I know of. Just R&A with the client.
– Oliver
Oliver Peters – oliverpeters.com
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[Bill Davis] “Looks like they took ALL the space that a Mac Laptop uses for the touchpad and used it for the second screen.”
It’s sort of the Touch Bar on steroids.
– Oliver
Oliver Peters – oliverpeters.com
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[Bill Davis] “I’ve been 100% “remote home based editing” for ALL my clients for about 5 year now.”
That’s easy because you are a “one man band” operation (no offense meant by that description). I don’t think you are the only one that works this way. Clients can send/ship you drives with original, native media and you can upload review and final copies. And of course, this isn’t cloud-based editing. But what about shops working with multiple editors, graphics, sound, etc in a fixed facility? Even if that’s just 2 or 3 people. How do they shift to working off-site?
– Oliver
Oliver Peters – oliverpeters.com
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[Ken Bennett] “So you are saying the SRT or SCC file actually gets embedded in FCPX when you export to ProRes then take that into Compressor. And you only end up with 1 file to create your DVD/BD discs from. About right?”
Yes, however, I didn’t create DVD or BD discs. These were files for broadcast and streaming. I’m not sure about DVD, because the standards are a bit different.
Once you have captions in the FCPX project, you have export options in the share menu to either embed captions (if the format supports it) or as a separate sidecar file. You can do this in both FCPX and Premiere Pro, however, each recognize a slightly different set of compatible formats.
– Oliver
Oliver Peters – oliverpeters.com
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I’ve some of this lately. I take REV’s .srt file and convert it to .scc using one of a couple of different apps. This is then imported into FCPX and edited/formatted as needed. Export a ProRes master with embedded captions.
Then use Compressor to create .mp4 files with embedded code. The only thing is that I can’t remember if we did .mp4 or others. I know we did a ton of different formats – usually variations of program stream and transport stream MPEG2s. You should also be able to export .mov files with H.264 compression that will be the same as your .mp4.
– Oliver
Oliver Peters – oliverpeters.com
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[Rich Rubasch] “Where is H265 or other codec in all this?”
H265 is generally used when you exceed UHD sizes.
[Rich Rubasch] “Is there any system that works this way?”
Both Adobe Anywhere and Avid’s remote solutions work this way. The hitch is that you have to purchase the infrastructure hardware. The “cloud” is made up of several servers and storage at some plant/facility that you control. Remember that if you have a multicam stream of 4 UHD camera feeds, you need server hardware at the head-end that does the real-time composite in order to send you a single stream of compressed media. So it’s not just storage or the data rate of the stream.
The second hitch is how do you get that high-res material there?
– Oliver
Oliver Peters – oliverpeters.com
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[Neil Goodman] “What i think will be a more complicated issue for my industry is security. “
I’ve had acquaintances in the music industry and working at defense contractor sites. This goes back a few years, but it was not uncommon for them to remove and lock up system and media hard drives at the end of each day.
[Neil Goodman] “we do dnx36 for everything already.”
Aside from the security issue, moving media around and remotely collaborating is easy when proxy media is involved. PostLab is an option for FCPX, but for now their media still has to be local.
– Oliver
Oliver Peters – oliverpeters.com
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50TB. Piece of cake! ☺ I’m working out of a shop with several hundred TB that at any given time, we have to be able to get to.
The trouble with all current solutions is media size. There are some cloud-based solutions, but it involves using other software than FCPX and putting at least proxy-res files onto their systems. That’s fine, but then how do you handle finishing and delivery?
To my knowledge, right now the only companies to offer remote editing solutions with native media are Avid and Adobe, which each require the appropriate infrastructure at some “home base” facility. And staffing to support that. There are also solutions from BeBop and Blackbird, but I’m a bit sketchy on the details for them.
Right now for FCPX, remote editing with another editor long-distance is easy through PostLab. But that’s not remote control/access to your system across town.
– Oliver
Oliver Peters – oliverpeters.com