Scott Goddard
Forum Replies Created
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Hi Geof,
Yes its a little confusing, but the reference guide does explain it.
Basically you create a multi checkbox not in the pick list section but in the ‘user column’ section under preferences.
Type your list of checkboxes that you want like this, for example lets say you wanted to checkbox what the weather was like on a shoot, your user column name will look like this:
Weather:Sunny:Cloudy:Raining:Thunder:Snowing etc..
So the first word is the name of the field and then the colons separate the names of the checkboxes. Then you just need to choose Multi Checkbox from the type column and you are good to go…
Scott
Néo Vérité Limited
http://www.neoverite.com -
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Welcome back to reality Bryson 😉
Glad to have your input, and its reassuring I am on the right track with the importance o folder and file metadata. I can see big shops needing individual file names, it makes sense but for anyone smaller a simpler system with CatDV doing all the heavy lifting should not run into too many problems. If anything the media folder seems to be a useful way to divide content up, especially when dealing with clip based tapeless media. So date, country, location, two word description etc
Does CatDV have a way of generating a continuos number? for example if I wanted to have a field for a unique asset set number (I am thinking of using the Reel field for integration into FCP).
So lets say I have a shoot on XDCAM EX or P2. I could take a cards worth of data and give it a number 1088 in the reel field (or similar user created one). Is there a way that when I come to do the next cards worth of clips I can go to that metadata filed and CatDV will auto prompt the next number in the sequence? I can probably see this manually using the drop down I was just wondering if it has an intelligent way of controlling those numbers?
Scott
Néo Vérité Limited
http://www.neoverite.com -
If its the full pro package you are after check out the new version. I use audition a lot for audio and its great, so much more stable than STP. Check out the new colour grading tool in CS6:
https://blog.vincentlaforet.com/2012/04/15/adobe-production-premium-cs6/
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Yes it makes sense to do it as part of the edit prep for sure. Its just that keeping it as a BPAV folder for archive purposes is essential (too much to go into here).
I don’t convert to prores at that stage because of time constraints, mostly its not graded much so there is not much need when speed is of the essence. You only loose speed with xdcam if you are doing lots of effects in FCP. Going further off topic I just built a system to run Premier 5.5 with the mercury engine and a Cuda Nvidia card. 10 streams of HD prores / xdcam all scaled to fit on screen at once, all rotating, all with grading and effects. Playback full quality, full frame rate out to client monitor in real time with NO RENDERING. Unreal. Apple lost another pro..
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Yes tape based was/is easier. FCP7 was not made (not much software is) for editing ‘clip’ based footage. I can’t stand it. Its incredibly unproductive to be sitting there double clicking footage to watch a 10 second clip.
Mostly when I am editing XDCAM EX I end up just making a timecode accurate play out of the entire cards clips. So basically i get one long say 50 minute clip (as you would get after ingesting a HDCAM tape.) I keep this native as XDCAM EX with the audio exactly the same as separate tracks. This really does not take long to do in FCP and makes editing as quick as you are currently doing it (as if it was off a tape). Of course it is completely backwards when you think about it.
Ideally Sonys XDCAM transfer would have an option to ‘link all clips’ with markers for shot change and any other metadata change that was previously recorded. I simply do not know how most editors work with a traditional tool like FCP7 and clip based footage, especially if they are working to tight turnarounds as I often do.
CatDV deals with xdcam very well with the MXF add on if you are keeping it all in its BPAV folder (as you should do).
Its just a shame that clip based is not really how our brains work or edit software works. I know that after I shoot for a day I have a vision of that days shoot as one long clip, so does the producer and the client. Thats how I remember it, thats how the FCP viewer deals with it and how we would all like to edit with it. I don’t think there is a usable solution yet to this but I may be wrong.
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I see, so your ‘Archive’ folder relates to a drive?
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Thanks for that. Yes I am certainly all for CatDV doing the heavy lifting. Yes the server solution is where I am heading in terms of multiple catalogues. This I am fully behind. Have you had any luck with getting CatDV to take certain elements from the file name and use that to populate fields or vice versa? Perhaps its only possible with the worker node.
Bryson referenced Nascar here:
https://www.youtube.com/watch?v=cpABlGRZ5EA
But did not go into folder or file name specifics, did you see something else from him? I searched but could not find it in the forum.
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From what I understand you need to have a path that is constant for the ‘Full Res’ footage. The folder and file structure is then identical for the proxies. Are you able to have multiple drives for the full res that you can slot in and out? How does this affect your proxy creation?
I will not be keeping much of the full res on file to start with, currently bluray data and then cacheA. The proxies are kept on a Raid 5.
I have read conflicting arguments for having a deep folder structure and for not (like yours). Metadata like weather (cloudy/sunny) or course will not enter the folder structure or file name. I don’t really see it as being too complex, almost essential.
Lets say CatDV (for what ever, hypothetically) stopped working, how well would your structure hold up?
In regards to having everything in triplicate, could you expand on this? The reason I may need them like structured like this is for using the worker node to organise my footage in the future where essentially it can organise footage into the right year and country and location based on given fields in CatDV.
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Yes I have experimented with this. The clips in question have two separate audio channels (i.e. they are two separate mono channels and not stereo). This is how CatDV sees them as it references them correctly in the metadata and I get the option to choose a track to hear in the playback section.
However, it seems impossible to generate a proxy through CatDV that will have the same audio structure. When I try to do it an uncompressed as you have suggested it turns it into stereo, which is effectively a mixture of both tracks that cannot be separated, i.e. it has taken both channels and mixed them into stereo, so its a mash up of the two sources, i.e. I can’t get the clean channels.
Lets imagine you have two wireless mics recording a documentary shoot into one camera, I want to be able to separate them at the proxy level for transcription, so effectively I still need a separate channel 1 and channel 2. I cannot get this through CatDV when creative proxies.
If I preselect mono in the audio encoding options I get just one channel.
I am surprised there is not a pass through option as it seems that its something quicktime can handle through compressor and other software. If I do it through compressor I can pass through the audio and have compressed low quality video but with the audio clear and still as separated tracks.
Maybe I am missing something?