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January 8th, 2008, 05:16 AM | #61 | |
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We have to understand that it is best to liberate our workflows from what we are suggested by the software industry and opt for kind of "abstract" files that run on various platforms, under various OS' and with many apps. .mxf is such an independent solution. To add a final touch on the hardware side, I'd use a Macbook Pro or a Mac Pro (both Intel) and run Sony's Clip Browser Software under Parallels/Win on any of those two platforms mentioned. |
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January 8th, 2008, 05:17 AM | #62 |
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January 8th, 2008, 05:56 AM | #63 | |
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I just duplicate the cards, rename the copy to something meaningful and then point the transfer app at that copy to import the clips or subclips to the editor when the time comes. I haven't solved archival for myself yet, but I'll probably go with the XDCAM drive and disks as that will also give me the ability to send content to others who will recognize the format / media and be able to handle it. It will also give me the ability to upgrade to a bigger XDCAM camera should business require it in the future and continue using the same media. |
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January 8th, 2008, 06:06 AM | #64 |
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I'm using Revpro 35 for archiving now and will adopt 70 when it comes, as a couple of hire houses in London will use this as a "shippable" commodity, it is robust and fast, and I can't see many hire companies "lending" their Express media to clients to offload, at least not until it all gets really cheap. I can edit directly from the Rev Pro drive (firewire) at 1440x1080, although I doubt it'll manage full HQ 1920x1080 without a render, or transfering the files needed to HDD.
Also, I'm about to add a Sony laptop, with twin 160gb (raid possible) drives, 4gb ram and blueray burner, as well as Express 34/54 slot, to the system. Not a bad little tool for 1200 euros. Paul
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January 8th, 2008, 08:35 AM | #65 | |
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It took me about half and hour but I found a place in LA that would do the transfer for me. |
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January 11th, 2008, 09:10 AM | #66 |
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I have had a lot of hard disk failures so I would opt as well for a blueray archival method.
But I am still a fan of putting the tape in the shelf... would it make any sense to shoot in 35 mbit and then archive to DV-tape (at 25 mbit HDV)? OK, there is a loss of quality but still a trace when all the other archives failed... HD Crash, BR Disc unreadable and so on... |
January 11th, 2008, 09:53 AM | #67 | |
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I've got miniDV tape that's about 10 years old and I pray to St. Oxide everytime a client calls up and wants a reedit. I don't think miniDV tape is as robost as one would hope. I've had some issues with old tape. On the other hand, I've got CD-Rs that are 15 years old and read as good as new. |
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January 11th, 2008, 07:37 PM | #68 |
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A question which is loosely related to this topic:
What workflow do you guys use with the EX1? Our studio has just bought a couple and they'll be arriving soon. So you're out in the field shooting.....fill up your memory cards.....what happens next? Do you download them straight into a laptop? Are there any storage devices just to dump the data straight onto, without the need for a laptop? Do you store the data straight to a RAID array so that as soon as the data comes off the card, you've got a backup? My concerns are that i'm often out on the road for a few days in a row shooting in various locations without going back to the studio in between. In the past, i always had the tapes to turn back to if any hard drives etc fail, but now i'll be re-using the flash cards in the EX1. |
January 11th, 2008, 07:42 PM | #69 |
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If I were in that position, I would take my MacBook Pro with the expresscard slot and clone the cards to DVD-DL. If you're using 16 gig cards you can split them using clip browser.
Then delete all clips from the card and go at it the next day. |
January 11th, 2008, 07:51 PM | #70 |
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Rob
Interior (set piece) scenes - bring your main NLE and 23" screen, go tethered if you want to. Get everything onto your main editing HDDs as soon as you can, make backups, either DVD, Blu Ray, other HDDs, whatever, probably two sets if you can. Triple check for data integrity the hard way. (you might have a night shift AE or put your editor on nights on for this, it's so important) Erase and reshoot. Exterior (location) scenes - laptop to DVD and backup to USB powered HDDs. They're small, cheap laptop drive enclosures that run power off the USB port of your laptop. That evening, or when you're next at AC power access at your shooting HQ, port to your main NLE and backup as above, triple check for data integrity and then erase originals. Apple carts (hand trucks with a G5, eSATA RAIDs and 23" screens on them) are pretty common on every set these days. |
January 11th, 2008, 08:09 PM | #71 | |
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In fact, I have some of my earliest photoshop work stored on two formats - bernoulli and cd (I remember paying $50 to have the disc burned in 1994!) - and while the bernoulli disc may or may not even be readable (if I could find a drive and system to access it on) the cd is still readable in all five of my current computers.
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January 11th, 2008, 09:19 PM | #72 |
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Just got the double DVD Set "Mastering the Sony PMW-EX1" by Vortex Media, featuring Doug Jensen. Learned lots of new techniques & details, but here's his take on Archiving:
First he uses only 8Gb SxS cards, because they fit neatly onto DL DVDs, which is one of his archive media, which he keeps in a separate building from the second: The second is external 250Gb Hard Drives, which will take 13 hours of HQ footage. He says the chances of both media becoming corrupt at the same time is virtually nil. The cost of this double archive is 65 cents per Gb, which compares favourably with most other methods, including BluRay. |
January 12th, 2008, 04:17 AM | #73 |
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Andrew - i can see where you're coming from with the laptop approach. Have you done this already? How long does it take to clone an 8gb card onto DVD?
And Chris, thanks for your response - that system would work on a larger scale production, but at the moment, we tend to produce more short docu films, a lot about sport, often shot in a day. Its a case of rock up at the location, film all day to a pretty hectic schedule, then off to a hotel for the evening then onto a new location the following day. In the past, shooting with the z1, you fill up your hours worth of tape, shove in a new one and you're good to go again. So using the EX1, is it relatively quick? painless? simple? just to clone the card on the macbook, or would it be quicker dumping it down to a USB drive or something, then backing up later that evening maybe? A slightly more expensive solution that i've already thought of is just to buy more memory cards, but they're pretty pricy at the moment! |
January 12th, 2008, 06:02 AM | #74 | |
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But like an Olympic diver, I feel like I've gone through the motions in my head a hundred times before jumping into the water. I'll post cloning benchmark results when the camera comes. However, my MBPro is only a 6x burner. |
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January 12th, 2008, 11:37 AM | #75 | |
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Problem with my solution
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If you try to use the transfer software on the Mac to import .mxf files produced by the clip browser software on the PC you are going to have a few problems if you shoot in HQ 35mbs mode: 1) FCP and Clip Browser will not be able to read 720 .mxf files produced by Clip Browser. 2) FCP and Clip Browser will read 1080 .mxf files produced by Clip Browser but the but the scaling of the video will be seriously out of whack 3) If you try to bring in your video to Vegas first, Vegas can only render out 1440*1080/60i video Back to the drawing board David Schmerin www.GotFootageHD.com Samples of my EX1 footage can be downloaded from ftp://vegas:demo@download.gotfootage.com |
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