[Olivier Prudhomme]

Actually I still have a Mac Back up with my laptop in case things go wild at the last minute
Maybe that’s the peace of mind I need….

Los Angeles – TV Promo Editor – FCP – AVID

[Olivier Prudhomme]

Unfortunately I can’t afford to rely on both

And what you say about the complexity of solving issues is one of my worries….
I can already see myself on delivery day at 2am sitting in in front of my crashed PC and wondering what is going on?
Hmm…. food for thoughts. Thx

Los Angeles – TV Promo Editor – FCP – AVID

[Olivier Prudhomme]

Thx for reply Eric

Do you edit 4K w/o proxies?
And was your set up DIY or you purchased it?

Los Angeles – TV Promo Editor – FCP – AVID

[Olivier Prudhomme]

[greg janza] “2. If you can stretch your budget a bit you can also have Thunderbolt3.”

isn’t this the kind of things PCs allow you to install later? Which would be great because I agree I should have it

[greg janza] “3. The main hurdle in making the switch is getting used to the endless myriad of settings on the PC side as opposed to the simple system “

this is actually my biggest worry. I know Macs so well that I don’t want to be stuck when a client is in my edit bay…

What is your current setting as far as graphic card?
I want to be ready to work with 4K which my brand new iMac failed to deliver on (hence being returned to bestbuy). I had to create proxies
As far as processor it seems that i7 is no brainer.

Los Angeles – TV Promo Editor – FCP – AVID

[Olivier Prudhomme]

thx Dave

Los Angeles – TV Promo Editor – FCP – AVID

[Olivier Prudhomme]

[Andrew Tucker] “Does this sound like a good approach or do you think it is something that would cause me trouble down the road?”

It is hard to give very specific answers without knowing things like the type of media/elements and the overall size of the date you have to manage and store.
What I know for sure is that even if it seems manageable now… eventually it won’t be. Media keeps accumulating and the external hard drive situation you’re using now will soon not be enough.
Keep in mind also that HD, as reliable as they can be, eventually fail, or at least have a chance to fail, which is not something you want to happen. So as mentioned in this thread, go the RAID route and don’t be cheap on the main system BU
I understand you’re cautious about moving things around because of the older projects linked to media that might be unliked. Maybe, and again it’s hard to know w/o the specific, maybe you could media manage these older projects which would allow you to eventually to get the workflow and organisation you’re after. Just don’t let those “old” project stand in the way of starting off with a new and improved media management system.

The good thing is that you are thinking ahead by reaching out and anticipating.

Los Angeles – TV Promo Editor – FCP – AVID

[Olivier Prudhomme]

[Brent Marginet] “The Video will be converted to 25p and not 50i which is usually what Broadcasters want.”

my export is not for broadcast but now that you mention “broadcast” I am wondering what’s the point to export 25fps if it’s to play on the web in europe?….
Do you think this could be a random client request?

[Brent Marginet] “Now take the completed video back into Premiere, Interpret it as 25fps and drop it into a 50i Timeline.
The video that gets exported will run 4.1666….% faster and be the same amount shorter.
The Audio will sound slightly chipmunky when compared to the original video.”

This doesn’t sound like a good solution if the audio’s distorted then, or am I missing something/

Thx for input

Los Angeles – TV Promo Editor – FCP – AVID

[Olivier Prudhomme]

Like Greg said, you’ll have several opinions. Here’s mine.
What I’ve learned is that some of my smallest jobs … were the biggest: some clients who need a 60 spot would give me more elements than some who wanted a 5 min cut.
That being said, the one thing / fear for me is to confuse PPro with media that moves from one location to the other: server to HD, HD to ext HD, etc…
What I try to do is have a main external HD that is super organized and any other drive i need to take around I make sure they are the exact mirror of the main drive: Folder structure, file naming etc..
Second thing is that I do NOT mess with file names. This is a good way to have off line media when comes online.
On the other hand I make sure to modify file names that contains any symbols (Ppro doesn’t like those).

You said that your client’s server is slow so you had to move media on a drive.
I think it’s the way to go as long as you don’t have to reconnect the offline edit to their media.

Finally it is good, once the Ppro gets full of “older cuts”, to create an archive project where you’ll store all those old cuts.

As for the timeline, I would definitely not nest (that’s what you meant by precomp I think) but I would create segments and have a sequence per segments or per 3-4 of media.

Los Angeles – TV Promo Editor – FCP – AVID

[Olivier Prudhomme]

Thx Andy. Good info!

Los Angeles – TV Promo Editor – FCP – AVID

[Olivier Prudhomme]

[andy patterson] ” I do actually like dropping 1080P 30P and 60P video into an interlaced timeline “

Interesting.
Why would you do that other than smooth playback if it was shot progressive which I would think will mean Progressive delivery?

Los Angeles – TV Promo Editor – FCP – AVID