Recapturing for Online Edit Workflow

Hello everyone and thanks for your help.
I just finished editing a project that was shot in HDCAM 1080 25p. Not sure if it's 8 bit or 10 bit.
We edited it in PAL DV and need to deliver in full resolution.
I chose the AJA KONA LK: 1080i 25 8bit codec from the Capture/Input box. The sequence is 60 minutes long and FCP tells me I will need 7 tetrabytes to capture it. Does this sound right?
I have a few 1000 Gig drives, but when I try to start capturing, I get a message that there is not enough space on the disc. I thought about breaking up the sequence for capturing, but I am not sure that's the best workflow because I'll have clips from the same tape in various parts of the film, and I'll have to reload the same tapes over and over.
Can someone tell me what the best workflow is for this? Thanks.

I talked to someone who suggested the Pro Res codec as it takes up less space (he said 120 gigs per hour, which is a lot less than the uncompressed). If anyone has any other advice about this please let me know.
I now used Media Manager to create an offline version of my sequence. Now, when I go to log and capture, it wants to import 16 hours of footage instead of just the 93 minutes that are in my sequence. It seems it needs to capture the entire tape, instead of just the part of the clip that I am using. Is there any way to use Media Manager/Log and Capture to tell FCP to capture just the part of the clip that I am using in my sequence?
Thanks

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Thanks in advance

Yeah. Take the native stuff offline. Disconnect the drive the files are on. If they are on the same drive as the HQ...separate them.

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Hi Roland,
If I understand your question correctly, you would like to know the Workflow template which will be used for PO release process.
So I hve mentioned the workflow template number which needs to be used / activated for the same.
This will not be done thro' SPRO.
You will have to take help of Technical/workflow guy , ask him to activate the event linkage for this template and he will do it for you.
Hope this helps.
Regds,
Akshay Bhagwat
Message was edited by: Akshay Bhagwat

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Figured it out.

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I`m working on a imac i5 in FCS3 with ProRes422
I got a Sony HDR XR 500 AVCHD Camera, i get the material in FCP with the Log & Transfer Window. In this way the material is going to render on the fly to the Target Codec ProRes422.
In the editing workflow in FCP i recognize the system got a little problem with the big ProRes files which means that the workflow slows down by the data rates of ProRes in HD
Now i think about offline Editing for months.
I read about the workflow, but there`s is one part that i don`t understand.
In every tutorial about this thread, they say that in the end of editing process you have to make your timeline files offline with the media manager, than recapture, reconnect from the tape with timecode.
BUT I DON`T HAVE A TAPE !!
My source files are AVCHD, which every one starts by tc 00:00:00:00
are the following thoughts possible, and how do i do this in detail?
when i do Copy my ProRes422 full hd files with media manager, so the filenames are still the same like the original ones.
in the copied project i start media manager again and turn the whole project in ProResProxy for offline editing. The file names are still the same.
then i edit my project in this ProResProxy Project !
At the end, shortly before i want to render out the whole movie in Full Resolution ....how can i reconnect with the original sized full HD ProRes422 files that are sleeping in a folder on my machine??
Can someone tell me something specific to this workflow, or a better one?

Folks, i've Found a Workflow in the web and tested it tonight - (it Works)!
And this Way i can Archive my Final project later on DVD or BR in AVCHD Source Files which are much smaller as pro Res 422 or HQ...
Here's the process in a nutshell.
- Backup your full cards. This needs to be done no matter what you do.
- Log and Transfer the footage as ProRes Proxy.
- Edit.
- When you lock picture, Media Manage the sequence using the MAKE OFFLINE option, choose the codec you want to reimport this footage as...ProRes 422. You will end up with a new sequence with only the footage used in the cut, with handles (yes, give yourself like 3 second handles).
- Use Log and Transfer to load all of the card backup folders. Just locate them...don't transfer again. You are telling FCP where the folders are. Close L&T.
- Highlight the sequence in the Browser, or all the clips in the MEDIA folder that is created, and choose BATCH CAPTURE. This will bring up the Log and Capture interface, but don't worry, it will now log and transfer the footage, and ONLY the small chunks of video you choose. It will recognize the IN and OUT points.
Do a small test and see for yourself. I have done this with AVCIntra P2 and it works well.

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I have been “nesting” sequences within my timeline as follows:
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JOhn
I think this mail is sent by the workflow mailer using the item type System Mailer. This is auto generated notification when the notification itself is canceled or retired. You can customize the subject there based on the source.
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I never worked in any post-house facility, and I come from a very indy background, so I never had a chance to see any edit suite hook up to a server.
I am wondering how great it is, how it could help our projects? And also what are the basics to know, the stuff to avoid when you're a newbie like me (in term of server network settings)?
Right now, we're running 3 Mac Pros to edit our projects. They are all connected through Gigabit ethernet.
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Thanks everyone for the feedback!
Studio X wrote:
Are you planning on making any money at this or are you only in it for fun? Have you ever edited before? Have you ever edited with FCS before? What of the 44 billion HD formats are you planning on editing? Do you have a camera? What format does it record? If it's a flash media based device, what's your back up strategy? How are you planning to externally monitor the HD material ? What are you planning to use as media drives as the system drive should not be used for media capture or playback?
Still, I guess I come down on the side of "it doesn't matter as neither one is a serious editing machine". If I was in the market for a laptop and was limited to the current apple lineup, the only machine of interest is the 17" MacBookPro. The other two MacBookPros you are considering have no expresscard slot and come only with glossy screens - both are serious deficiencies in my world.
I do plan on using this computer professionally. I am a recent college graduate but do have professional FCS editing experience under my belt. However my work was done using both school and employer resources. I do have an archive of work in Mini DV(HDV) and AVCHD formats. I don't currently own an HD camera, however will likely be purchasing one in the near future. As far as externally monitoring HD material, what else would I need other than the 24" external monitor (perfectly capable of full HD) or a separate HDTV? In addition to several older usb2 external drives for backup I do have a 1TB 7200rpm external capable of FW800 and eSATA that I would use as a media drive.
I currently have an old 17" dell notebook with a glossy screen. The screen hasn't really bothered me, but the size and weight of the notebook has. And while the 17" MBP is a little lighter and smaller than my old dell, I would still prefer a 13" or 15". But from the opinions I've been hearing I'm steering away from the 13" and fully realize the downsides to the lack of ExpressCard slot in the current 15" as well. Still wondering while Apple decided to remove it.
MartinR wrote:
If budget is a primary constraint, then consider a refurbished 15" or 17" MBP from Apple, or a used MBP from a reputable supplier.
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http://store.apple.com/us/product/FC026LL/A?mco=MjE0NjE5MA

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I am trying to define a WF Admin for a specific workflow. I know we can maintain a USER ID or EXPRESS(WFsyst-agent) or Rule for this in the Version Dependent tab of Basic Data for wflow template.
But, when i give a Role(Custom R:XXXXXXX role), and do the syntax check, it is giving me the following error and am not able to proceed further.
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venu

Mike,
I thought i had solved it. But, when i am trying now with a role "RXXXXXXX" that is 14 char, its not working again.
Can anybody tell me if there is any limitation on the role name (should start with Y or Z) or char length (14 char or 12..).
Your immediate response is greatly appreciated.
========
Hey, i just foudn that its the limitation with 12 char ..not Y or Z..and also found this OSS note 860251. It discussed the issue, but not a solution other than choosing a 12 char length for Role name.
Anybody, any ideas ?
Thanks in advance,
venu
Edited by: Venugopal Jogi on Jul 14, 2008 6:07 PM

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I've been exploring this because I've been having a problem when exporting line art from Illustrator 8 as a PNG and opening it in Fireworks MX, where it appears washed out.
I did a bit of research among comic strip artists -- the art I'm exporting from Illustrator is a comic strip -- and came up with conflicting results.
Dilbert seems to save black and white line art as GIFs, e.g. http://dilbert.com/comics/dilbert/archive/images/dilbert2008611230313.gif
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I assume your line art is drawn as vector art in Illustrator, correct?
As far as I'm concened, the "best file format for online line art" would be .swf, because it would retain its scaleable vector nature, and the Flash Player is most likely embedded in any reasonably recent computer's browser.
But a little simple experimentation would be in order regarding file size. SWF (as exported from Flash, not necessarily AI) is very efficient. But the complexity of the line art could still make a given image require more bandwidth as .swf than as a rasterized version.
The former conventional-wisdom regarding PNG is the old "not supported in older browsers" saw. I see even Firworks's online help still says:
> However, not all web browsers can view PNG graphics.
Personally, I think its way past time to stop cow-towing to outdated browsers and use PNGs anyway. So if it were me, and the nature of my line art required rasterization for online use, I would use PNG for its obvious advantages. But then, my livlihood is not affected by some minority of outdated web viewers not being able to view my PNGs.
I would think that whatever color problems you are having in getting your AI files exported to PNG can be worked out with a little investigation/experimentation. (PNG supports color management profiles, so that alone may be your problem, and may be easily fixed in your workflow.) GIF is by definition limited to a subset of colors. JPEG is by definition a lossy compression format. So there are certainly precise color-accuracy issues with those overused formats, too.
But again, that's just me. What little I do in web graphics that would involve this issue doesn't really affect my livelihood. Lowest-common-denominator compatibility may be more important to you.
> Gilbert seems to...
> Doonsbury seems to...
The two images are very close to the same size (132K & 125K). They both include contone grads. Between JPEG and GIF, I would expect JPEG to more consistently yield acceptable results. Since GIF is limited to an 8-bit lookup table, I would expect aberations such as unwanted banding to be more likely in GIF if the artwork contains many colors and alot of highly-rendered shading.
Since you specify
line art, though, that would rule out contone fills, and you could use GIF with a very small color table.
On the other hand, you do not specify whether you want to use transparency in your line art images. If you do, PNG would be far superior, because it supports true alpha transparency. In a GIF, if you can only make one particular color transparent. So even with line art, if the line art is antialiased at all, you'll have the ugly halos so commonly seen in GIFs when displayed on a wrong-colored background.
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JET

Recapturing for Online Edit Workflow

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