Sean Oneil
Forum Replies Created
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You shouldn’t be having any of those problems, and you shouldn’t be having performance lag on an 8-core Mac. I would test using a different system if that’s a possibility. Also check your settings. AJA got a few of the ProRes settings wrong in their Easy Setups.
Sean
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[gary adcock] “Rotational speed is not the only factor needed here, disk cache, number of read/ write heads, formating and block level formating also need to be taken into consideration.”
Not with laptop drives. There’s only a few 7200rpm drives available at that size. All others are much, much slower. So they’re using one of those. And you can always just use the same one’s the RED DRIVE uses. And the filesystem is created when you format the disk with the camera.[gary adcock] “even the RED CF cards have such a high sustained data transfer rate that more than 90% of the top of the line 3rd Party CF cards fail when used in the camera.”
That doesn’t surprise me. Flash memory is a different animal than hard drives. Not to mention they’re all much slower than any RAID-0 hard disk system would be.Sean
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Not talking about geri-rigging. Talking about developing a solid system, if someone needed to. And not during production. Before it, obviously. For instance, you could develop a system to use an Apple X-Serve RAID as your storage
This town’s lost a lot of work because people can’t afford the production costs here anymore. That’s why I find these kinds of discussions interesting.
Sean
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[gary adcock] “they will not have the correct connections or speeds needed to handle the content direct from the camera.”
You’ve schooled me on this camera and I appreciate it. But I do have to correct you on this. The RED DRIVE is only two 160GB laptop drives in a RAID-0 enclosure. The fastest laptop hard drives on the planet are only 7200RPM. That means 80MB/s at most. So using an alternate storage device would not require performance any greater than that.
Obviously taking a RED DRIVE and swapping out the disks is one option. You could also have someone build a custom LEMO to eSATA cable after mapping the correct pinouts.
The camera formats the drives. It’s possible that it won’t format anything other than a 320GB volume. But I’d say it’s more likely you could use any size up to and including 2TB.
I’m not endorsing any of this by any means. But if someone had a need for larger or cheaper storage, it would be worth experimenting.
Sean
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I haven’t tried Motion, but my favorite is by JES Deinterlace. It costs $0.00.
Sean
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[Daryl K Davis] “I do want to mention something about Cinema Tools, which I do utilize extensively even with HDCAM 24p “video” projects. I use this database program for a variety of reasons. One is that I am able to provide audio post houses with a variety of audio edls and seperate audio logs and lists in addition to OMFs (for searching alt takes and such). I also like the reverse telecine automation Cinema Tools offers.”
That makes perfect sense. I was simply confused by your original question. As far as I know the RED just uses regular SMPTE timecode so it’s relation to CT would be no different than when you’ve worked with HDCAM.
Sean
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[gary adcock] “Sean- this is totally inaccurate, first in my experience the 2:1 formats do not translate directly to 16×9 outputs without black bars or cropping. RED’s 2K and 4K Full frame formats can directly scale in RedCine to 16×9 HD outputs. “
I just read that from the manual. Verbatim.
[gary adcock] “what about keeping a database of the shots, maintaining a film like workflow ( which is needed for this type of camera) and this is more of a film camera than it is a video camera.
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WIthout keycodes, how would one expect the RED camera to “integrate” with CT differently than any other video camera? This is not rhetorical, I’m seriously asking. I just don’t see how a digital video camera ties into CT in any special way. Yes, you can still use CT for organization purposes, but what specifically does that have to do with the camera?[gary adcock] “That HDSDI would be 720p60 only – no downconversions are currently available. the QT proxies made in camera do not necessarily directly conform to current SMPTE video formats so this is not as easy as it sounds. “
Again, I just spent 5 minutes on their website. I saw a Redcode QT component available for download. That gives you plenty of options to create DVDs from it. As far as the 720p, I’m sure it’s meant for external monitors and not DVD recorders. I just mentioned it as it gives you plenty of external recording options (like use a Teranex mini, an HD-DVD recorder, an HDCam machine – whatever).That’s great you have experience and can properly warn him of the shortcomings. I was just trying to answer his specific questions.
Sean
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[Jay Thomas] “I’m cutting a pilot where the majority of the footage was acquired 23.98 720p but we’ll also be incorporating archival 29.97 NTSC sd footage and graphics that will come from a gfx house. The project will need to be mastered at 59.94 720p. I’ve captured all the interview footage (20+ hrs.) at 23.98 and have started the edit in a 23.98 time line. Am I approaching this the right way? Do the GFX need to be rendered 23.98 as well, and will they and the 29.97 footage get strange when automatically removing frames in timeline but then adding back upon output? I have a BMD decklink extreme HD card as well as a Panny AJ-HD1400 deck. Thanx in advance”
Yes you are approaching the right way. Have the graphics rendered at 23.98fps, and edit and master at 23.98. Even though you’re mastering to a 60fps tape format, you don’t want mixed framerates in your program if you can avoid it. It can cause all kinds of problems down the road. You should treat this as if it were a 23.98 tape format you are mastering to. For example, if a DVD or Blu-Ray is made from this master, the authoring house will capture and encode it at 23.98 (unless they’re hacks). But they won’t be able to do this if you have broken cadence or multiple framerates in your program.
Arron asked if the NTSC footage was originally shot on film or not. You need to know that before you convert it to 23.98p. If it’s film then you do a reverse telecine (using JES) and you’re done. If it’s 30fps video you convert it to 29.97p first (also using JES), then to 23.98p (using Nattress Standards converter, Compressor, or just rendering it in a 23.98 FCP sequence – results will vary among these). It will have a different look, but it should look fine.
Sean
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[Joe Stiles] “What if I added two more SATA drives in the 2nd optical bay and used 1 for my boot drive and striped the other 5 for editing? I feel confident that would work for DVCPro HD, but what about uncompressed? Are there any cooling issues involved with housing 6 SATA drives inside the MacPro?
“I’m doing this with 5 drives (not 6). Works fine. A 5th hard drive is not going to put off more heat than a 2nd optical drive would. There really is no downside. The Mac Pro case was designed to handle this. Newer hard drives consume less power and put off less heat than they did 2 years ago.
Just keep the system disk in tray 1 or you could have problems down the road.
Sean
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[Daryl K Davis] “Being this is low-budget (less than 5 million) I will probably edit and post-supervise myself. I guess I’m just wondering if there has been an actual movie done completely through with the RED camera. Most people I know have only used it for effects shots”
Universal’s “Wanted” was shot on it. $65 million dollar action movie with an A-list cast.
Sean