Russell Lasson
Forum Replies Created
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[Michael Sacci] “I get roughly 5 GB/s vs. FW800 at 2 GB/s”
Michael, you might want to restate those numbers. There is no way you’re getting 5 gigabytes per second off of one drive.
Jay, eSATA is faster, but not as easy to use for Mac people because eSATA requires an adaptor on the macbook pro. eSATA can go as fast as around 300MB/sec, but if you only use it in a one drive configuration, it will only go as fast as that drive will go, which is generally between 100-120MB/sec.
Firewire 800 is much more convenient and in my opinion more reliable too because it doesn’t require an extra adaptor that can sometimes be a little finicky. Fastest I’ve seen a FW800 drive go is around 80MB/sec.
If you’re just dealing with DV, AVCHD, DVCPRO, HDV stuff, then I don’t think you’ll notice a huge difference. If you want a drive with eSATA on it, I’d suggest getting it with FW800 too, that way, you have a backup.
If you want to capture directly to the drive, I’ve probably suggest eSATA so that it doesn’t effect the bandwidth of the firewire bus that you’re trying to capture off of.
-Russ
Russell Lasson
Colorist/Digital Cinema Specialist
Color Mill
Salt Lake City, UT
http://www.colormill.net -
I’ve never been a fan of editing with the proxy files, even though some people really like it. I would much rather convert everything to a low res file for offline. You can have tiny files sizes that process quite quickly if you use ProRes Proxy at SD resolutions by using ClipFinder or REDRushes to process them with a quarter debayer.
How you edit the project will also depend on how you’re finishing the project.
-Russ
Russell Lasson
Colorist/Digital Cinema Specialist
Color Mill
Salt Lake City, UT
http://www.colormill.net -
[Manuel Bauer] “I heard that with this new version one could use the QT proxies from RED One camera without having to render them once imported to FCP.”
New version will still need to render or change the playback settings to Unlimited RT. Where did you hear that it would playback without needing to render?
-Russ
Russell Lasson
Colorist/Digital Cinema Specialist
Color Mill
Salt Lake City, UT
http://www.colormill.net -
[Wayne Robinson] “Could I compress my pro res 444 video to pro res 422, offline edit, then re-compress to 444 and color correct in color, “
Sure. Offline at ProRes 422 or even DVCPROHD or DV all would work. Then just online on FCS3 with the ProRes 444 files. Systems that have the latest QT will be able to read the new versions of ProRes, but while you can import a new ProRes flavor to FCS2, you won’t be able to edit it without rendering.
But for $300, I’d just upgrade.
-Russ
Russell Lasson
Colorist/Digital Cinema Specialist
Color Mill
Salt Lake City, UT
http://www.colormill.net -
Animation codec doesn’t edit well in FCP.
-Russ
Russell Lasson
Colorist/Digital Cinema Specialist
Color Mill
Salt Lake City, UT
http://www.colormill.net -
[walter biscardi] “[Michael Gissing] “Although not really available yet and probably needing a breakout box that is yet to be speced, it looks really interesting, particularly if you are looking for a setup that will see a lot of Red codec. ”
It’s not available, not in use, so we should just wait for it and then put it into our systems?”
I really hate to be the one to breakup the party, but as I type this, I’m compressing footage on a RED Rocket system. It is available and is definitely in use. It rocks for RED footage. But…..
It’s completely different than a capture card. It’s currently only compatible with one program provided by RED. It is used for two purposes currently. First is to accelerate rendering of RED files and second is to play RED files out at any frame size up to 4K. We don’t have a 4K monitor, so we’re stuck with 2K and 1080P. The footage is quite breathtaking.
The RED Rocket does not work to capture footage. It isn’t compatible with FCP. It could possible be compatible with footage other than RED in FCP in the future, but it’s not likely in my opinion. I’m not parting with any of our AJA cards any time soon.
Walter’s point is that AJA is a proven card and an industry standard. It’s really great stuff.
-Russ
Russell Lasson
Colorist/Digital Cinema Specialist
Color Mill
Salt Lake City, UT
http://www.colormill.net -
I strongly suggest an offline/online mentality for AVCHD.
Here are the steps:
1. Copy all AVCHD folders to a drive
2. Import the AVCHD folder to log and transfer
3. Import as ProRes Proxy
4. Edit
5. Media Manage sequence as “make offline” with handles
6. Select all offline files in new sequence and batch capture (make sure you’ve loaded the needed AVCHD folders into log and transfer)
7. Transfer to ProRes SQ or HQ.This is a very slick workflow with FCP7.
-Russ
Russell Lasson
Colorist/Digital Cinema Specialist
Color Mill
Salt Lake City, UT
http://www.colormill.net -
How are they recording the viper image? How will the viper data be delivered to you?
-Russ
Russell Lasson
Colorist/Digital Cinema Specialist
Color Mill
Salt Lake City, UT
http://www.colormill.net -
I agree with David that processor speed isn’t worth the extra money right now.
I would much rather spend the money on a super nice SSD for a start up disk. I’ve heard really great things from that.
-Russ
Russell Lasson
Colorist/Digital Cinema Specialist
Color Mill
Salt Lake City, UT
http://www.colormill.net -
Are you comparing the Quad 2.66 to the eight-core 2.26? Both are good computers, but I would strongly suggest the eight core machine if you’ll be dealing with processor intensive workflows. Compressor will utilize the extra processors and I doubt you’ll regret it.
That is, unless you lose your home because you spent the extra money on a computer.
-Russ
Russell Lasson
Colorist/Digital Cinema Specialist
Color Mill
Salt Lake City, UT
http://www.colormill.net