[Shawn Convey]

OK now you are touching on something that I have found a bit confusing.
My Synology Box does have 4 gigbit LAN ports.
Does that mean that if I bought box it could transfer 4x the speed of a single Gigabit LAN
OR does this mean that it reduces bottlenecking when using multiple machines?
either way thanks again for your time and responses.

[Shawn Convey]

@Charlie
Again thanks for the input.

I guess what this boils down to however is my Synology 1813+ has no Thunderbolt connector.
and what I am curious about is if the gigbit LAN will be able to handle the prores 422 1080p footage for FCP7
I have way too much footage 🙂 (300 hours) My editor starts back up (we are 1/2 way through the edit)
and I don’t want to waster her time but we are running crazy low on space…

Being new to NAS and office networking in general
I would assume that if your LAN port is suppling the rest of the edit suites it can’t be transferring any quicker than the gigabit LAN port coming out of my Synlogoy… is that thinking correct or am I missing something?

again thanks for your patience with this networking n00b 🙂

[Shawn Convey]

Thanks for all the feedback

@ Charlie Austin
Just to be clear you are not using the R8’s Thunderbolt connection at all and just the gigabit LAN port and you have not has issues with 1080p / ProRes 422?
are you using any specific switches or other devices to avoid bottlenecking?

And to be honest I would mainly be using it on the iMac with occasional use on my laptop…
Thanks for your insight!

[Shawn Convey]

Yeah I would love a Promise
but it just in not in the budget…
especially since they come preconfigured (none barebones)
so even if I could afford the $3.5k model it is not nearly as expandable.

many have said that the 1813+ has super impressive speeds with gigabit LAN ports (4 of them)
but still I really don’t know what that means in terms of what I need.
Obviously the quicker the better but if Thunderbolt 2 is a Porsche will the Synology do what I need it to do.

If not then I am prepared to make my DROBO my edit drive and my Synology my storage drive
BUT still I want to know if I can use my Synology (and use it on 2 computers) and then I would sell my DROBO and use that money for more 6TB drives for the Synology…

any perspective about actual speed needed contrasted with the speed capable of the 1813+ would be super helpful.

Cheers

[Shawn Convey]

Thx for the quick response.

So in your opinion my
iMac
27-inch, Late 2013
3.5 GHz Intel Core i7
32 GB 1600 MHz DDR3
NVIDIA GeForce GTX 780M 4096 MB

With an OS of 10.8 would be the ideal set up?

Right now I have 10.9.5 loaded on it… but I would be willing to do a clean install downgrade if you think that is the right way to go…
I would rather not but I have been working on this doc for 6 years and will be flying an editor from Berlin to work on the the fine cut and I want to be certain that everything is running as smooth as possible when she arrives.

While I have you attention would you have any advice on a secondary monitor for this set up?
thanks!

[Shawn Convey]

Yep that is making sense..
still not a perfect solution but this whole process is very imperfect..
I was hoping I could keep the clips all “loose” but that seems pretty impossible..

— Actually —

Is there a way to render the generators and subs as an “independent” layer with an alpha transparent background
so basically if they were to import just the synced footage which x27 could handle
and then we placed this subtitle / timecode / file stamp layer above that for reference…

would something like that be possible?

thanks!

[Shawn Convey]

@Bill Davis
I like your approach in theory.. However there is 12TB of footage and on top of that I am not confident that my FCPX chops would win anyone over to convert 😉 But I do agree with what you are saying.

@ Jeff Kirkland
thanks for the tip I will have them check that out for sure

@ Andy Mees
I am curious as to what you mean exactly… Seems like you are onto something but I am not “savvy” enough to follow you. would you mind explaining a bit more…
I would really love to figure out a solution that does not kill either them or myself 😉

thanks to all!

[Shawn Convey]

My obvious hesitation for doing that is that there are over 45 days of footage totaling 200+ hrs.

I am going to try to talk the Berlin editor / producer into using FCPX

However I suspect they will resist.

We need to edit 2 different versions…
first a 52 min TV for broadcast version, and then a 120 Min theatrical version for Fests.

Can you think of any reason why FCPX would not be a proper tool to edit either of these versions other than the fact that the producers / editor have maybe not done so before… (meaning they are hesitant as it is new and scary)

Are there Roundtriping issues I should be aware of or programs that definitely don’t play well with FCPX?
I have been made aware of X2Pro for a solid “pro tools” roundtrip solution, and I have been assured that FCPX and Di Vincci Resolve play well.
Is there anything that you can think of that would be a deal breaker for them?

As it is now the FCPX structure (Event, Projects with Subs, TC and file stamp all synced with external audio via Plural Eyes) seems like an ideal starting point from a organizational standpoint…

thanks!

[Shawn Convey]

Hey David,
check this out…

Consolidating & Transcode Events Before Backup or Transfer

I think this answers my questions and hopefully your too!

[Shawn Convey]

Thanks!
is there a “good” way to make properly exposed footage “underexposed” in post? I would rather pick and choose how much detail is “lost” rather then shooting it like that….

also good idea with the transparent grey solid…

as for the fog, I won’t have control over that as it will be more like street shooting. Good eye, but I am more concerned about the overall tone from a palette / contrast perspective and not that concerned about replicating that image exactly….