Sam Lee
1
COW Coin
Forum Replies Created
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Hello,
How can I send you a small FCP 7 rewrapped .MOV as AVC-I native codec to check that the latest Pr CC Windows will read it? Perhaps a private link via WeTransfer.com?
Native AVC-I is so much more efficient over A. Pro Res 422 in terms of file size and rewrap time.
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There’s an annoying bug or limitation on FCP 10.2.3 where when importing native P2 AVC-I 100 spanned footage, it would not properly reimport after the media has been moved around (changed volume name). Another reason why I use the rewrapped method is the cam’s metadata. In AE CC 2015, it’s not possible to import the .mxf as a clean metadata that was recorded on the field. AE is not smart enough to automatically span volume and retain full clip name metadata. This gets really confusing especially working with Adobe Dynamic Link between Pr & AE on Mac & Windows. Collaborating of editors at different locations also benefitted from a single rewrapped .mov with custom clip metadata name instead of 10-12 P2 spanned P2 cards. And it gets unwieldy when there is multicam involved. Imagine trying to know which camera is which (out of 12 cams) with the system’s default 0041AB.MXF. The custom clip name of “cam09-jib_4.5mmWide_0001.mov” makes a huge difference in media management for example. And that so far worked very well if the P2 media are rewrapped (native AVC-I 100 .mov that so far worked on OSX only) or transcoded to a single .mov
via Pro Res 422 (Mac&Windows OK) but at a huge transcoding time cost.Lastly, FCP X & Pr’s proxy workflows seem to prefer single packaged .mov instead of the camera native .mxf from P2. I had no luck in seamless workflow whenever native camera format are used. This is especially true on AVCHD, Canon XF codec (C100-C300), and so forth.
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You got a point there. I can start by at least storing them in a Pelican 1650, which is dust and water proof. I don’t think mold and mildew will grow in the case. Well at least I hope not.
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Thanks for the tip. I tried but somehow I couldn’t get the audio to 48 Khz. It maxed out at 44.1 Khz, which will not work for many of the recent online video platforms. 100% CBR, found on Adobe Media Manager, is required. Looks like Compressor has many years of R&D to go to catch up with the rest of the encoders in term of features.
On a different topic, I see that Telestream will discontinue their Episode product line next year. I’m very reluctant to purchase any of their apps. Even if I use Episode Pro, I still need to export to Pro Res 422. I have a huge series of 200+ 1 hr timeline need to go directly to .mp4 CBR. Skipping the Pro Res intermediate file will help to cut the processing time considerably.
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You need to install the appropriate P2 driver for your Mac OSX. It’ll show up. They have up to OSX El Capitan. And it’s OS specific. Can’t use OSX Maverick for OSX Yosemite for example.
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For 10.2.3, the only way FCP X acknowledges that clip has proxy is to create it. There is no other way around it. Fortunately, Compressor has a transparent pass-through encoding feature in which the clip’s attributes are preserved (SMPTE TC, # of audio track). The cost here is 2x the encoding time.
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The complexity of transmitting 1080p signal over HD-SDI cable to the switcher is pretty complicated. You’d need a deck that can record 1080p plus correct setting on the output camera. Finding the right switcher is another hurdle. Still researching this but so far the easiest one to pull off is 1080i. I tried to intercut 1080i timeline to 1080p and it’s very hard to tell apart. Only when the camera pans it’ll give away the 29.97PN look. But overall not bad when intercutting them.
Now doing this the other way, 1080p timeline and 1080i footage will need de-interlacing (prior to FCP X) and lots of rendering. 1080p seems to fit in just fine.
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The electricity cost for me sky rocked over the years for keeping these drives online. The power company’s tier price structure gets really expensive. I already implemented small to medium scale solar panels, 12v AGM batteries and running the hdds and computers all at 12vdc. It’s a waste not to capture the sun’s natural energy during day time hours.
Looks like LTO-6 is still the most economically viable medium for long-term archival. LTO-7 will be next in line several years from now.
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They do exist but be prepared to pay thousands fr Everezt, Snell & Wilcox,…. It basically an alarm that will go off after you set the amount of black time. You can set it to go to slide picture or notify via SMS, email. Don’t know if they make it cheap for the mass yet. But pretty much at all broadcast control centers it’s a normal feature.
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Was any audio filter applied to the clip? I had this problem in the past. It’s extremely annoying and had to use Logic Pro X and edit it without any audio filter to remedy the situation.