Robb Harriss
Forum Replies Created
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Yes, I’ve had the same issue for years. I finally gave up and set the preferences so I enter the time manually on each machine. As long as it’s reasonably close I seem to have no problem. And I have to reset the time on a machine only occasionally.
Non-linear: all the time and nothing but.
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“Stop, a rocket is striking”
Non-linear: all the time and nothing but.
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I don’t get more than those two audio channels. I tired a 5.1 sound effect and that shows up as just a single channel.
The audio popup in the standard player usually gives me two audio channels that I can select on or off. The Protected player gives me a left right slider for a single channel.
Non-linear: all the time and nothing but.
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Yes,
For example we have hundreds of hours of interviews with hundreds of interviewees. I have “interview” as one of my categories. Then I have another category with the interviewees name. That name is “locked down,” so I know the spelling is correct. Helpful a year or two later when you’re doing lower third name bars. And we often interview the same people at different places, at much different times. Most of our footage is first sorted by shooting location, say a particular hospital or factory. But later I may want to search for an interviewee who worked at more than one hospital. I take responsibility for maintaining the list of “pick” items.
Here’s an example of one catalog template I’m using, followed by user columns and pick lists, and then the customized details for the log notes panel.Bryson’s NASCAR example is brilliant because it shows how detailed you can make a catalog to find precise shots later. Of course someone has to dial in all that information.
Non-linear: all the time and nothing but.
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yes and yes
Go to settings and then Customize Details Panel or Customize View to create or modify a layout. You can do things like change the order and position and name of a field, as well as it’s length. All depending on the contents. Fool around with making some panels and view of your own.You “bulk tag” by selecting several clips and then entering the data in the field of your choice. You can set the field so only certain data is acceptable, or it will complete with previously filled entries. It’s actually quite complex in how you can set it up. I tend to lock down certain entries. That gives the user a specific set of choices from which to choose. That prevents then from going “free form” on me and making up all sorts of strange search terms that no one else recognizes.
Non-linear: all the time and nothing but.
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I’d say the speed issue is really only in the playback of the h.264 files. If they’re coming up fine then it’s ok. I’m not sure, without messing with it, how the video will be delivered to the video pipeline, but it’s certainly easy to try. Load up a catalog with 6,000-7,000 clips and see what happens. That will stress the system. You’ll also want to group your video clips in multiple directories, rather the way I’m sure your audio clips are sorted. I’d have the database on an SSD, myself. The assets on a nice little raid. How much material are you talking about? In the video world we don’t worry about audio assets nearly as much because the video files overwhelm everything.
Non-linear: all the time and nothing but.
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no, not exactly. When you open CatDV there’s normally an open blank page. You run a query, and the results of that query will populate the open page. How long will it take you to fill in the query? I suppose that depends on how complex it is, and how you’ve described your source clips and in what fields. Me, I tend to do very general searches, so I use a single search field for “everything” and get a fair number of results. I’m sure you’d be more specific and narrow down the results considerably. k
What format are the video files in? Access to them might be interesting. I’d be interested in how you’d roll the sound and video into your production board, if you’re using one that is. You can use a popup player window as well as the one embedded in the GUI.Non-linear: all the time and nothing but.
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Workgroup and Enterprise will search across catalogs. It’s reasonably quick. Though I’m not sure if the workflow would be a perfect solution for a live show. Catalogs are generally considered best under about 5,000 clips.
Non-linear: all the time and nothing but.
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The Proxies can reside anywhere. Just direct CatDV where to look. Go down two entries in these questions and you’ll see some screen shots of the settings and how CatDV finds the proxies.
You can customize the interface extensively. Takes some trial and error and a bit of looking at the instructions.
Non-linear: all the time and nothing but.
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The paths just need to be correct. Sometimes easier said than done. Mine have been a little confused because our methodology has changed over the years, as have the storage locations of both original media and proxies. You can see how messy in the image below. Anyway. It should be a matter of redirecting CatDV on the new computer to the new location of the proxies. I’ve made it easier for myself by cloning all the proxies. It was easier when we were using Final Cut and the file names were easier to identify. Going back to Avid the names are a lot more obscure. But one thing I do is include the reel name and number as the first few characters of the file name. Makes locating things easier.
Non-linear: all the time and nothing but.
