Shane Ross
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[Ingo Witte] “if you start a native Avid P2 project 1080-50i you can choose between 1440×1080(50mbit)”
1440×1080 in AVCIntra P2 terms is ANAMORPHIC…it’s squeezed. It’s not square pixel, like 1920×1080 is. If you choose a 1440×1080 native setting, then it’ll still be 16×9, as Avid will ‘unsqueeze’ the footage it’s assuming is squeezed, to wide screen.
If you want square 1440×1080, you’ll need to make a custom setting.
Shane
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Output just for them to watch and give approvals…or notes? I always export H.264 720p or even 540p files and upload to a place they can watch, or download to watch.
Is this what you mean?
Shane
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That TB RAID happen to be an OWC RAID with SoftRaid? I know that MacDrive (and pro) won’t see that. SoftRaid software is Mac Only and those raids are only viewable on a Mac. That’s one issue I have.
Shane
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Do you see them on the timeline, but they are offline? Because you can mark IN and OUT and then use the command RECREATE TITLE MEDIA
Shane
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Resolution is pixel size…so 1440×1080 is a resolution, so is 1440×1080. So if you are going to be delivering 1440×1080, and want the abilty to reframe 1920×1080 footage, make a project with that custom resolution
Shane
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[Chris Gill] “Can I expect any issues reading the avid media/MXF files? “
Nope…the files are OS agnostic.
[Chris Gill] “I’ll be using a 4TB Gtech stand alone drive to edit from. “
Make sure that the Windows machine has something like MacDrive installed, so it can read the MacOS drive format.
Shane
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[Herb Sevush] “An editors dream is a capable director, a smart producer, and a reasonable schedule.”
And a computer that isn’t slow, that can’t keep up with you. That can handle the footage that the producer and director hand you…
Shane
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[Aaron Doenges] “If we upgrade our rig so it can hold both cards, how does Adobe handle using both of them at once? Can this cause any problems?”
Most computers have both at the same time, and they work fine. They perform completely different tasks, so they don’t interfere with one another.
Shane
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I concur…DR 14 is not really what I’d use on a project of this scale
Shane
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[Enno Jacobsen] “Which of the two, Avid or Premiere, allows for the best organizational tools during an edit of a complex interview project”
Hmmm… Adobe is easier to search the entire project for a word or phrase. Quicker anyway. Both do it but PPro is a touch faster. But organization is equal on both, IMHO.
[Enno Jacobsen] “which of the two allows for a proxy workflow that doesn’t get screwed up during the conform of the final edit to the UHD we shot it in?”
Avid. Avid was born around the concept of offline/online workflow, molded by it….Premiere simply adopted it (Batman/Bane reference). Seriously, after trying a long form doc where proxies were made in Premiere…well, incorrectly done…relinking was a pain. But it was done wrong. That being said, Avid was built on this premise, so it’s better.
[Enno Jacobsen] “Between the multiple cameras, it’s a lot of material to wrangle and sort through (30+ hours)”
PSHAW! I’ve worked on long form docs with 70-100 hours of footage. And now, a reality show with 5 months of shooting, 8 hours a day, at LEAST three cameras on at all times. Talking over 1000 hours of footage, multicam…offline/online. Cut on Avid.
[Enno Jacobsen] “1 • Is Avid or Premiere best suited for a proxy workflow that allows subclips?”
Avid
[Enno Jacobsen] “2 • Which of the two allows for best practices to sort and structure my material?”
Equal, from my experience
[Enno Jacobsen] “3 • Which lets me work with markers and some sort of clip/timeline metadata in the process?”
Both. But Avid is better.
Shane
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