Compression options for datapump

Hi
We are using 10.2 version of the db.
Using datapump
I have rad docs for datapump and as far as compression goes, can only see COMPRESSION=METADATA_ONLY.
We need to export something like a 200gb schema and we have no space for it.
Is this the only option for compression? (yes, I have looked into other mount points)
Looks like there isnt any. "Stay tuned for a data compression solution in a future release ".
Brilliant.
Thanks.
DA
Edited by: Dan A on Mar 28, 2009 12:18 PM

Good point,and one I will look into.
In the end I eventually got the dump - with 99% space used! I then scp-ed it to another box and gzipped it from there.
I am going to look into setting those environment variables as this took me two hours yesterday and yesterday was a Saturday - know what I mean?
DA

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2 ;
create table ct(x int) compr for oltp
ERROR at line 1:
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http://support.apple.com/kb/HT1502?viewlocale=en_US
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That was for single-layer DVDs. Double these numbers for dual-layer DVDs.
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The note talks about "optimized storage" for a workbook, which I am assuming is the same as the "compression option" you asked about.
And I quote:
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Hello. I'm just wondering about the "Compress" option when you right-click anything in the "Finder".. I know that it makes a (.zip) file of whatever you select..
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VBR options for mpeg4

Hey all,
I'm trying to compress video for web streaming/download through Compressor and would like to use mpeg4 instead of H.264 to maximize compatibility for playback.
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After I set all my video settings to my liking, I change the bit rate from "Constant at" to one of the 3 VBR settings, of which there are only 3 offered (low VBR, medium VBR, and high VBR).
Compressor doesn't let me adjust any of these settings. The "Medium VBR" setting makes my video (about 4 minutes long) look okay, with a decent file size, and the "High VBR" setting makes the video look fantastic, with a unacceptably large file size. I'd like to find a middle ground between the 2 settings.
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The built-in Apple presets only allow for a limited range of options unless you customize them. In order to customize the preset, you need to launch Compressor (separately - not by choosing it as the export method from FCP), locate the particular preset you want to customize, duplicate it, make your changes and save it (with a meaningful name other than the original). In this way you can build a whole range of presets which can be grouped together in folders for particular compression jobs.
Whether you export "Using Compressor" or to "Quicktime Movie" seems to be a matter of personal preference, but either way you'll have to create the presets you wish to use in advance in order to have them available as export options.
It's far more efficient to export your sequence from FCP to the "Quicktime Movie" option (NOT - I repeat - NOT - "Using Quicktime Compression") and deselect the "make movie self-contained" option. This will create a reference movie rather than duplicating original source material (and eating up gigabytes of HD space). There is some argument as to whether this method degrades quality - if it does I haven't been able to detect it.
Drag the reference movie into Compressor's Batch window. Drag one of Apple's compression presets to the entry in the batch window or one of your custom presets (or for that matter an entire folder of presets of varying compression settings, CBR, VBR, etc.). Submit the batch and Compressor will produce a Quicktime movie based on each of the presets applied. If you configure Compressor's preferences appropriately you can have each output movie named with the original sequence name and the name of the preset appended (this avoids issues with multiple output files having the same name and helps identify each output in case you're trying to compare different methods). You can also set a default destination folder for all of your output movies. Once you develop a set of compression settings you like, save the preset (or the whole group if more than one) as a droplet; any time you need a file in a particular format or range of formats, creating it can be as simple as dragging and dropping the source onto the droplet and Compressor can operate entirely in the background.

Best options for uncompressed HD master?

I've just finished my first feature-length project in HDV on FCP, and I have some questions about output. In the past I've always been editing SD DV under 60 mins, so master output was always easy. But between the HDV and the 90 min. run time, things are a little more complicated.
We shot and edited in native HDV 1080/60i. We've rendered our final master sequence in HD ProRes, but I don't know where to go from here. These are my main questions:
1. My primary distribution is going to be SD DVD, but I want to keep an uncompressed HD master file backed up on multiple hard drives. What's my best output option for such a file? Can I just export a self-contained QT in sequence settings? Will that apply compression I don't want? Is there a better output option in Compressor?
2. Keep interlaced or deinterlace? Again, most people will be seeing this as an SD DVD.
3. I'd also like to get a local video outfit to make an HD tape master for more secure long-term archiving. What tape format is recommended?
4. Question I should have asked but didn't? Please, do tell.
Thanks in advance for any help.
Stu

Ken Summerall, Jr. wrote:
The absolute best quality that you are going to get is by exporting a QT movie using current settings and making it self contained. Since you shot and edited in an HDV sequence this will add no further compression (remember that HDV is already heavily compressed).
Uh-oh. That's not actually correct.
HDV is relatively unusual as shooting formats go, in that it's a GOP format, as opposed to an I-frame format. In I-frame formats, each frame of footage (or pair of fields, if you're shooting interlaced) is compressed all by itself, independently of all other frames (or field-pairs). But in a GOP format, a number of frames are compressed together — that's what "GOP" means: "group of pictures." The first frame is compressed independently, then the next frame is described in terms of what's different from the previous frame.
When you edit HDV +and then export it as HDV again,+ whether to videotape or to a Quicktime, the GOPs must be "conformed." As you edit, you make cuts that break the GOP structure, so the timeline cuts from the middle of one GOP to the middle of another without including the first frame on which that second GOP depends. So when you export or lay off, Final Cut has to go through and convert a bunch of I-frames to B- or P-frames, and convert a bunch of B- or P-frames to I-frames.
In essence, exporting or laying off HDV imposes a compression hit. You will reduce the quality of your footage.
Since the question was about the best option for mastering, HDV is +definitely not it.+ Would it be okay? That depends on the footage, and on how picky you are. But it's not the best option. The best option is to master to a (ha ha) mastering format. Uncompressed 8-bit, Uncompressed 10-bit and ProRes are good choices here.
As for tape … that's tougher. You can absolutely send an uncompressed or ProRes Quicktime file to a dubbing house and get it laid off to videotape, but the question is to what format? HDV is a poor choice, because of the aforementioned compression hit you take when conforming the GOPs. DVCPRO HD would actually be a step down for you, because it would downsample your 1440x1080 native footage (or your 1920x1080 master, if you chose to upres) to 1280x1080.
That leaves HDCAM and HDCAM SR. If you've done things like color correction or compositing in a 10-bit color space — or even long-slow dissolves to or from black, which is one of the places where 8-bit really falls apart on you — choose HDCAM SR. HDCAM is an 8-bit format only, and you'll lose color precision if you go to that format. But if you stayed 8-bit all the way through your workflow, then you can go to HDCAM without any real problems.
Note that both HDCAM and HDCAM SR +are compressed formats.+ Your only option for uncompressed HD videotape is D6, and good luck finding a Voodoo recorder nearby. But HDCAM and SR are good enough for professional mastering, so they'll surely be good enough for you as well. And they're both available in 94- and 124-minute lengths, so you can master your whole feature on a single tape.
(While you're at it, consider getting your uncompressed or ProRes master file dubbed off to a data tape format as well. You worked really hard on this project, so it makes sense to be a little paranoid about preserving the fruit of your labors.)

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