Shane Ross
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[Jean Tertrain] “But I don’t undestand why we then weed to consolidate or transcode : why one would not just keep the files linked to edit them ? Why do we need to either consolide or transcode after having linked them ?”
Many reasons.
1) You have TONS OF FOOTAGE and limited space, so you work in an offline/online workflow to save drive space. Also crucial if you are having multiple editors on a show
2) The camera masters are a complex format, like R3D or AVCHD or MP4…that require a LOT of computing power to decode on the fly. Not all camera native formats are meant to be edited straight away…the power needed to decode them on the fly is too much and can slow the system down.
3) NEVER EVER EVER work with the camera masters. They need to be stored away. Always have at LEAST two copies of the media, because hard drives die. So…linking to the masters, and then TRANSCODING to work with them does two things…a) moves them to your EDITING drives so they are in two locations, and b) makes them easier to work with.
[Jean Tertrain] “Also, why don’t we just import everything ? Why has the linked method been created at the first place ?”
If doing an offline/online workflow, relinking to the masters can only happen if you AMA the footage. If you IMPORTED, you’d have to resort to BATCH-REIMPORTING at a higher resolution…you can’t relink back to the camera masters. The reason to relink is to either capture at a higher resolution, or to prep to send to online done on another system.
[Jean Tertrain] “Also, what is the difference between consolidate and transcode ? What is the best ? How do we choose which one to pick ?”
CONSOLIDATE…MOVES the media from one location to another. TRANSCODE converts it from one codec to another. I’d never CONSOLIDATE camera masters, UNLESS it is a COPY consolidate, rather than move…and only if it’s an editing codec like ProRes. The BEST depends on the workflow you’ve devised.
Shane
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if this is for BROADCAST, they should be hiring an audio mixer, as broadcast delivery has many requirements, not only a stereo mix. They want audio stems of various elements. And it also needs to meet a very strict standard in terms of levels. -12db is I believe the peak level for many networks…but you have to check the spec sheet for what the network you are delivering to requires. It might also show what the deliverables are, and maybe that will convince the production to send out the audio to be professionally mixed.
But with the temp sound mix, the offline edit, the EDITOR really should be paying attention to levels and making sure nothing peaks and distorts.
Shane
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Dunno Bob…tell this to all the “YouTube” stars. Many use iMovie or similar…until they make tons, and then get better equipment. But they start somewhere. So did many a garage band. The Rolling Stones didn’t always have the top of the line equipment. Talent goes a LONG way.
Shane
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Frame.io (extremely popular, and affordable)
DigitalPigeon.com (I use this, affordable, easy, customizable to fit your BRAND)
Shane
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As long as what you are transcoding will be the finals, great. But are the comments and other logging information coming over?
And I wouldn’t be surprised. If you worked at say, PILGRIM PRODUCTIONS, you might still be on 4.0 or 5.0. And Original Productions also is on OLDER systems. Because A) They have A LOT of systems so upgrading costs money, and B) the editors there often don’t want to update because they really like the way things are. I also know that Original still shoots HDV…on a few shows at least (Deadliest Catch).
Shane
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Warning…if you offline with the MP4 files, you will not be able to relink to the master file at all…you’ll need to manually over cut. There’s no metadata to make it link properly.
Shane
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[Michael O'Reilly] “Is there a way to use everything I list above to create a useable MC file/media? Like put all sources in sequences, export via Duck, but then transcode via resolve?”
Yeah, but you won’t get ANY of the markers or notes. Only clip names, timecodes, and reel. So this really won’t help. You can’t convert projects from FCP 7 to Avid…only sequences, and yah, none of that media will have any of the logging information on them…as that logging info is in the project, not on the media file.
SOrry to say this, but best to start over, and import all the camera masters into Avid. I wouldn’t want to deal with footage imported into FCP and then brought into Avid…that’s double conversion, and might not have all I need to relink to the masters in Avid.
FCP 7…MC 5.5.2. You are sporting REALLY OLD versions of editing software.
Shane
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Wait…if you need something to use for EDITING…don’t have them send you a compressed file like that. They need to send you a master quality QT file…in ProRes or DNxHD or other editing codec. Mp4…no, that’s a delivery codec.
Shane
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Well, one way is the FX FACTORY app. Several plugin makers make their plugins available thru that, and they install where they need to go.
Shane
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[Robert Withers] “If you buy a new computer with HS already installed you can’t go back.”
If that computer was built BEFORE HS came out…say when SIERRA was the OS in the wild, yes you can.
Shane
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