Walter Biscardi
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Those are just file, as long as the total data amount is under the total storage for a DVD, yep you can put anything you want on there. You’re not going to play those in a DVD Player, it’s just a storage device in your case.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative MediaCraft and Career Advice & Training from real Working Creative Professionals
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Just to chime in here, your setup is almost identical to what we have in our shop. 5 edit suites, ProTools Mixing Theater, Davinci Resolve Suite, Two Media Management Systems and 5 Client use iMacs. All tied into our NAS. We’ve been running ethernet based NAS for about 9 years now and recently switched to Studio Network Solutions. We’re running their 48TB EVO system which is running out to all the client systems via 10GigE and where we have iMacs, 10GigE to Thunderbolt. Our systems are a mix of older model Mac Pro, Dell Workstation, iMac and Laptop. We run both ProRes and native files here cutting both HD and UHD cutting in an Adobe workflow primarily though we also run Avid and FCP on occasion.
Main reason for switching to SNS was their Share Browser allowing on-board media management and project level locking. We can have multiple clients all using the exact same Adobe Premiere Pro project at the exact same time with no fear of one person overwriting the other’s work. Cross platform operation is also solid with Mac / Win. We had permissions issues galore for the year prior to switching to SNS. All gone now.
The Share Browser also catalogues everything that is attached to any system on the network, and that’s another part we really love. Any drive that’s on any system on the network can be mounted by any other system on the network. For this reason, we kept our original 48TB RAID and now run it as a near line Archive. So in essence, we have 96TB to edit with and the Share Browser can control all of it.
Our workflow is all media is catalogued / ingested at the media management stage. Project goes through editorial and finish. Project is archived back through the media management team. The Share Browser gets installed on all the systems to actually manage the data flow, but the price of the tool is included in the purchase. No need to purchase “seats” for each clients, you can install on unlimited computers.
Facilis is a great product. For my needs, SNS really made sense dollar for dollar. Here’s a couple of blogs I wrote about it.
https://walterbiscardi.com/first-look-studio-network-solutions-evo-with-sharebrowser/
https://walterbiscardi.com/twoeditorsonepremierepro/
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative MediaCraft and Career Advice & Training from real Working Creative Professionals
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[Brian Cooney] “Yes we have FCPX and the consumer grade that seems to perform well on the highest end configurations apple has to offer. But it’s all still consumer friendly and consumer based. The span between pro and novice is growing bigger by the moment. and this span is not reliant on knowledge or proficiency, but equipment. “
Well except that FCPX is expanding it’s foothold in the broadcast world and is now a part of some major multi-user workflows. It’s not a consumer tool. It was a piece of crap three or four years ago when it came out, but the improvements and ecosystem built up around that tool puts it square into the professional market today. It is tied to the Apple ecosystem so you have to have a Mac to run it, but don’t call it consumer by any means. Might as well call Adobe consumer if you want to call X consumer.
As for the machines, I’ll be replacing all my Macs with PCs very shortly. The iMacs from three years ago can barely keep up with PPro 2014 / 2015 and I’m not about to purchase a trash can Mac Pro. That’s one of the reasons why I stick with PPro for our work, the flexibility to use just about any workstation. I’m not locked to the Mac ecosystem.
The software, Apple, Avid, Adobe, Davinci and more are making major leaps and bounds. If you run any of this on older machines, you’re going to get subpar performance. Doesn’t matter the brand of software.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative MediaCraft and Career Advice & Training from real Working Creative Professionals
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I would update the OS. At least to 10.9 if you can find it. Adobe keeps advancing the software and older OS can lead to a lot of issues. We’re on 10.9 and 10.10 all around here.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative MediaCraft and Career Advice & Training from real Working Creative Professionals
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Yeah, it’s easy, just stretch it horizontally. I believe Encoder can do this for you by simply setting up an HD Output and changing the Aspect Ratio
You can also do this inside Premiere Pro by simply creating an HD Timeline and simply using Scale to stretch your video horizontally.
Either way, your video will be stretched horizontally by about 33% so that will distort the image.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative MediaCraft and Career Advice & Training from real Working Creative Professionals
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We color grade on our Flanders Scientific reference monitors so it looks great. What happens to it after that is wholly up to how people have their TVs and computer monitors set. If they are left in pre-set, they’re usually just fine, but if people have messed with the settings on the TVs/Monitors, there’s nothing we can do.
Just like delivering broadcast shows. I have no control over it once the show leaves my hands and I’ve watched episodes of “Good Eats” at friends houses just cringing at how they have their TVs set up. Usually people have the saturation boosted and for some reason a lot of red. But I know that when I delivered the show to Food Network it was perfect. That’s all you can do.
If you are delivering for a specific purpose such as a film festival, you can always ask if they have custom specs they’d like you to deliver for. But generally our stuff looks great across all displays so long as it looks good on the FSIs.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative MediaCraft and Career Advice & Training from real Working Creative Professionals
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I don’t think DNxHD supports anything above a 4k output, and they just added that.
You’ll need to use ProRes or other codec for that.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative MediaCraft and Career Advice & Training from real Working Creative Professionals
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[Nick Griffin] “And for everyone, don’t forget meals, breaks and plenty of water, soft drinks, etc. In the long run being generous with crew members pays off. You get better work and a higher degree of “buy-in” to the project.”
100% agree. Just completed a 5 day shoot where we rolled off 127 Scenes. Had plenty of food and water for the crew and had one of our best shoots ever.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative MediaCraft and Career Advice & Training from real Working Creative Professionals
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[ron cournoyer] “Wondering what a competitive wage is, based on an either daily rate, or event rate. Days run around 12 hours, while the whole event may be up to 4 days. Some local, some require travel.”
Minimum $500/day for the shooter. Probably more like $650/day for 12 hours. That’s the person, no gear.
With gear $750 – $1250/day depending on what they are bringing.
Generally with 12 hour days and just a 4 day event, you’re not going to get a discount on the rate unless you book them for at least 4 events.
You pay all associated travel costs.
Don’t forget the sound tech.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative MediaCraft and Career Advice & Training from real Working Creative Professionals
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be sure to shoot in 23.98 fps and look for a RAW or LOG mode in the colors. The film look starts there and ends with really good color grading.
This sneak peek of “Fork U” was shot on the Panasonic GH4 in 4k and we shot in 23.98 using I believe a LOG type of color mode. Can’t remember the exact name as the cameras were rented, but this is completely UN color graded at the moment. It’s the video on the left.
https://www.contemporaryliving.tv/shows/fork-u/
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative MediaCraft and Career Advice & Training from real Working Creative Professionals