Shane Ross
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There is a reason that the Smithsonian keeps at least TWO of every type of playback device…be it 1″ reel to reel, BetaSP, Digibeta, Umatic…you name it. In order to have the means to play historic archives, recover data.
I did a search a year ago for a person trying to get their Avid project and media online…a project made on an ABVB Avid system on a Powermac 9600 running Avid MC 7.6 (the old version, not the rebooted version)…and media on LVD drives. Back then I couldn’t find an adapter for SCSI, not for sale in any mainstream store. Not for USB, nor firewire, nor TB2. Not even a card for current machines.
What I finally DID find is someone with an older, functioning Avid 7.6 system, and then another person who had an LVD chassis, that we could connect to that system. But then the person wanted to make all this footage available to cut in a CURRENT system. WELL…the media type, even though made by Avid back then, we weren’t sure could be read by the current system. Codec was AVR 3s…but the main struggle was…how do we get this footage even ONTO a current system. The Powermac 7200 we had this system on didn’t have USB, no firewire, only SCSI. Couldn’t get a SATA drive connected to it, much less any external…to even do the transfer to something a current system could read. When I left, they resigned to cut on the older system, and spit out an EDL to be able to online this from their tapes. Since a few linear bays still exist in this town (L.A.).
As for that tape, yeah, you’ll need the exact type of tape drive that was written on to recover it. Just like any current tape system.
There’s a reason I have a BetaSP deck, a Umatic deck, my 2008 MacPro, an iBook running os9. I keep getting approached with old old stuff.
So…yeah, good luck finding anyone selling SCSI to TB3, or anything TB…or even USB. They DID have a SCSI to USB thing about 12 years ago, I do recall someone i know getting that. Might have luck on ebay, but then, will the drivers even EXIST to enable that drive to mount? Those were all made during Mac OS 6 and os7 days.
Shane
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A lot of prep work (conforming) happens in the NLE before you send it to Resolve. In Avid, you need to give all your footage REEL NUMBERS by modifying the clips. I’m sure you need to do something similar in Premiere. I’m not familiar enough with Premiere to know what you do to do that, but you need to assign a reel number to each different reel of footage. OR…like some do in Avid, give each clip a unique reel number. Yes, this can take a LONG time…this is one of the big issues with current editing software and tapeless media….there’s no default to give it a reel number.
Back in the tape days, the editing software would always prompt you to type in a tape name when you put in a new tape. Tapeless ingest doesn’t do that. FCP 7 would default add the tape ID by looking at the name of the folder the tapeless media was coming from. FCX didn’t follow up with that practice until VERY recently. And Premiere and Avid don’t do that at all. Which is why it needs to be done after the fact. I tried to online a feature doc cut on FCX and 60% of the footage linked improperly. To clips with the same name, and timecode, but many days and months apart. BIG issue with camera makers who make their cameras restart TC and clip names when you put in a new card, thus causing this need to “fix it in post” yet again.
OR…you can make sure all your media is full resolution in Premiere Pro, and then output a high res file of the whole cut…ProRes 444, ProRes HQ…or DNxHR HQ. And then export an EDL and bring in the final export to REsolve and use the EDL to chop up that clip. I always ask my clients to provide a full res export, so I can use that for footage that might not link up right (stills) and for areas where they use plugins or transition effects that I don’t have.
Shane
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Only AAF and OMF can contain media…XML cannot. And Resolve most certainly accepts XML, I online many many projects where I’m given an XML and media, from either FCX or Premiere, or AAF from Avid (linked to media, not embedded…which doesn’t work.
You need to either bring the drive with the media to the suite, or copy all the media to another drive. And then, as I stated earlier, drag all the media into the MEDIA POOL, and then import the XML, and when it asks where the media is, point it to the bin in the pool where it exists.
One BIG issue to note is that many editing apps do not add a needed bit of data to tapeless media…a unique reel number. And many tapeless media types are shot with cameras that repeat clip names, so you will have several with the same name, and timecodes that start over, so Resolve will have issues linking to the right clip.
Shane
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You want to grade all of the original clips used in Premiere Pro, correct? Then what you do is export an XML, and import that into Resolve. And then in Resolve, either manually add the clips to the Media Pool first, and then the XML, or import the XML and have it bring in the media.
Shane
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That’s like asking “What’s the best setting for QuickTime in Premiere?” Because MXF is a CONTAINER, just like QT is. MXF can be one of many codecs:
XDCAM
DNxHD
DNxHR
1:1
14:1
DV
HDV
ProRes (yes, there is ProRes MXF)So you need to find out what CODEC you are cutting. With the Canon C300s, that’s XDCAM. But you can use DNxHD or DNxHR if you want. OR…auto-create the sequence to match the clip settings by dragging a clip into the NEW SEQUENCE icon.
Shane
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ProRes isn’t a down convert. That’s a full-resolution format. Finishing format. The data rate is higher, the files will be bigger. If you want to do offline/online cutting, that’s…hmmm…well…not CS6’s strong suit. Not really designed for that…later versions are.
Gonna have to stick to converting to a high res finishing format and editing with that…ProRes.
Shane
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Even with a Premiere Pro version that supports that format, it’s a highly complex format that will require lots of computing resources to cut native. Fast processors, high end GPU. If your machine is older, or just “OK,” it’s better to transcode to an editing codec, like ProRes or DNxHD
Shane
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You would have to set up the machine with the HDDs as a SERVER…allowing it to share the drives. I wish I was a server expert, but i’m not, so I can only say that’s what you need to do, not how you can do it.
Shane
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Resolve LINKS to the media as it exists. P2 media has video and audio recorded separately, so they come in separately.
Never thought to test this. Wonder if it works with DVCPRO HD P2 footage…the old stuff.
Shane
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Hi Mark. I onlined a feature length TV doc on the Apollo program for National Geographic called APOLLO: MISSIONS TO THE MOON. We had some SD footage, a lot of HD footage that was pillarboxed, and 8K footage. How you treat this is up to you and the producers and client who’s financing it…distributor or network. Our network, National Geographic, wanted the footage to be full screen. So we pushed in on the 4:3 footage and cropped off the top and bottom, and repositioned. I watched the CNN doc, APOLLO 11…and they did the same.
But, if you have a network/distributor that wants to see the full image….then I suggest keeping it pillarbox…black on the sides. Anything else is distracting, IMHO.
When I onlined a documentary on the JFK assassination….THE LOST TAPES: THE JFK ASSASSINATION, it was done in collaboration with the 6th Floor Dealy museum…as they provided all of the footage, at a discounted price. With the stipulation that we not crop the footage at all. The network wanted it full screen, but Dealy was insistent, so we just went with Pillarbox. It looked fine. I preferred that as we saw the full image…no cropping.
Doing tricks that news does where they fill in the sides with the footage layered below it, blurred and somewhat darkened…THAT to me is distracting.
So…either push in all the way, or go with pillarbox. Depending on the client wants/needs/demands.
Shane
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