Re: [FCP-L] Re: Sony EX1R Post Workflow

True...the two times I dealt with XDCAM was when I was mixing it with
8 other formats (oh the joy), and on one particularly large project (2
hour show, with 200 hours of footage) where everything was done at
full resolution native XDCAM. I have done offline/online with FCP and
it is pretty slick now.

And the media for XDCAM EX is cheaper, archiving solutions are less
expensive...

-shane

On Dec 10, 2009, at 2:12 PM, Mark wrote:

> I can conclude from these earlier posts that EVERYTHING is a
> nightmare in POST!
> There's no doubt that certain combinations of codec, CPU, and
> workflow may not be optimal, but I wouldn't be so quick to dismiss
> XDcam.
>
> Here's why I LOVE the XDCAMHD format, both disc based and chip based
> (EX-1 or EX-3).
>
> #!. Archiving: For the Disc based formats (XDCAMHD), you're creating
> an instant archviable media. Chip based media can be transferred/
> copied to these same discs and still retain the file structure.
>
> #2. Ingesting: Via either disc or chip, you can ingest the raw clips
> at MANY times real time. We will typically run two PDW-U1's per
> computer to achieve fast ingest times. Same can be done with
> multiple chip readers.
>
> We're currently building a "digital sponge" that sucks up media at
> an astounding rate to keep up with the mountains of media generated
> by our multicamera shoots.
>
> #3. Proxy files: The XDCAMHD disc based media automatically creates
> proxies that can be used for logging, shot selection, whatever.
>
> #4. Speed of transcoding media. See #2 above. We can ingest,
> transcode to another format for off-line editing, and STILL be
> slightly faster than realtime ingest.
>
> #5 Selectable bit rates: 35Mbs, 50mbs, etc. Depending on your needs,
> these settings can
> really stretch the capacity of your recording medium.
>
> Sure, there can be issues with any new codec, but big picture, this
> format (XDCAM) hits a sweet spot for us: economical, versatile, and
> high enough quality to get the job done.
>
> As I mentioned in #4 above, we work in an "off-line RT" codec. This
> enables us to bypass many of the issues of bandwidth, CPU power,
> etc. that others have mentioned. One of the keys to this workflow is
> a little known program that Sony has created that enables you to
> UPREZ disc based, files as a "portion" of the file, not the entire
> clip. So, we've been able to
> completely change our "uprez" process from "playing in" a clip to
> just "pulling in" a clip off of the original disc. This speeds up
> the process tremendously. The EX media can already to this, no
> problem.
>
> So, for the above reasons, and for our situation (long form reality
> TV), XDCAM is our hero.
>
> Mark Raudonis
>
> --- In FinalCutPro-L@yahoogroups.com, "Dom Q. Silverio"
> <domqsilverio@...> wrote:
> >
> > ProRes for us is also a nightmare for long form edits. This is
> offline
> > editing - meaning hundreds of hours of footage in shared storage.
> DVC
> > Pro HD was the only workable format but would still hiccup once in a
> > while when handling large photos. It is just hitting the 2.5GB
> memory
> > limit way too fast.
> >
> > Of course for online where you only have 1 or 2 hours of footage
> > XDCAM, ProRes and DVC Pro HD is not a problem.
> >
> > Dom Q. Silverio
> >
> >
> >
> > On Thu, Dec 10, 2009 at 2:31 PM, Shane Ross <comeback@...> wrote:
> > > Yup...same issue here. But ours was a NIGHTMARE where XDCAM EX
> was
> > > just one part. We had 9 other formats. But as soon as I
> changed the
> > > sequence settings away from native XDCAM to ProRes (yes, you
> have to
> > > render EVERYTHING when you are done), the crashes all but stopped.
> > >
> > > Log GOP MPEG on long form is nasty.
> > >
> > > IN the end it turned out fine. Went from 4 crashes a day
> (bringing
> > > back awful flashbacks of Adrenaline days) to 1 every 3 days. We
> > > didn't transcode XDCAM to ProRes...that would take WAY too
> long. Just
> > > used that sequence setting.
> > >
> > > So I am biased towards DVCPRO HD as it is do darn easy to
> edit...even
> > > on a G4 Powerbook! G5 Tower! That no matter how good XDCAM
> looks...
> > > dealing with it in post (where I hang my hat) is NOT fun. So
> when I
> > > am asked what formats/cameras I recommend... DVCPRO HD,
> > > AVCIntra...P2...is always on the top of the list.
> > >
> > > -shane
> > >
> > > On Dec 10, 2009, at 9:12 AM, Dom Q. Silverio wrote:
> > >
> > >> That too is my experience with EX footage with long form
> editing in
> > >> FCP 6 or 7. Tremendous amount of crashes and longer processing
> time
> > >> (renders, exports, etc) compared to DVC Pro HD. It requires too
> much
> > >> memory to process.
> > >>
> > >> Dom Q. Silverio
> > >>
> > >> On Thu, Dec 10, 2009 at 12:00 PM, r_salsbury
> > >> <synchro@...> wrote:
> > >> >
> > >> >
> > >> >
> > >> >
> > >> >
> > >> >
> > >> > I was gonna just let this go by, but since it's turned to a
> bigger
> > >> discussion, I'll mention that I've worked at 2 separate
> facilities
> > >> where XDCAM EX (1080/23.98) footage was a real hassle to work
> with
> > >> in FCP. Technically, it's just supposed to work as a native
> editing
> > >> format, but it drove folks a little crazy at both places. FCP 7
> is
> > >> much better with it than 6, but for the shows I've been cutting,
> > >> it's not seamless. That translates to half hour or hour long
> shows.
> > >> >
> > >> > We were seeing lots of green frames, weird sync stuff,
> crashes way
> > >> more often than normal, and exports both self contained and
> > >> reference took forever. Like, 20 mins for a 30 minute sequence,
> with
> > >> a huge fibrechannel SAN as the backbone. Drives were not the
> > >> bottleneck.
> > >> >
> > >> > The current series I'm cutting for is shooting with these
> cameras
> > >> (I think the cheaper one), and after mighty amounts of
> > >> troubleshooting, we decided to transcode EVERYTHING that had been
> > >> shot thus far over to ProRes LT. Things have gotten so much
> better -
> > >> those self contained exports are down to about 3 or 4 minutes,
> and
> > >> no crashes.
> > >> >
> > >> > I like the way the footage looks, and would encourage folks to
> > >> check the cameras out, but not without trying to road test a
> project
> > >> the same size you'll really be working with.
> > >> >
> > >> > I'll also add that the assistants are impressed with how
> quick we
> > >> can load and integrate new material, even with the step of
> > >> transcoding from XD to ProRes, so there are speed advantages to
> the
> > >> format apparently.
> > >> >
> > >> > Anyway, my 2 cents.
> > >> >
> > >> >
> > >> > -Robert
> > >> >
> > >> >
> > >> > --- In FinalCutPro-L@yahoogroups.com, David Dodson
> > >> <davidadodson@> wrote:
> > >> >>
> > >> >> Now we're finally getting to the nut of what I was trying to
> > >> unearth.
> > >> >>
> > >> >> So when shooting with the EX1R's long GOP MPEG2s you have to
> copy
> > >> the card contents to a drive and THEN transcode/rewrap the
> material
> > >> to (ProRes?) for cutting?
> > >> >>
> > >> >> And more critically, is this a real-time or longer-than-real
> time
> > >> process? And if not, how long?
> > >> >>
> > >> >> Thanks,
> > >> >>
> > >> >> David
> > >> >>
> > >> >
> > >> >
> > >> >
> > >> > ------------------------------------
> > >> >
> > >> > To learn more about the FinalCutPro-L group, please visit
> > >> > http://groups.yahoo.com/group/FinalCutPro-LYahoo! Groups Links
> > >> >
> > >> >
> > >> >
> > >> >
> > >>
> > >>
> > >
> > >
> > >
> > > [Non-text portions of this message have been removed]
> > >
> > >
> > >
> > > ------------------------------------
> > >
> > > To learn more about the FinalCutPro-L group, please visit
> > > http://groups.yahoo.com/group/FinalCutPro-LYahoo! Groups Links
> > >
> > >
> > >
> > >
> >
>
>
>

[Non-text portions of this message have been removed]

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