SAN-Specs

[Patrik Forsberg]

Hi all,

I might have missed this info somewhere...in that case, sorry!!
We (my company) are looking into setting up a dedicated san solution for our three Red cameras and 5 edit suits (fcp) What will the on-line working size (27 or so mb/s raw redcode unpacked into reasonable online stream) be? 80? bigger?

All the best

[Rob Lohman]

If I understand you correctly it will depend on the codec / file format you will be using for online. 4K at 10-bit in a DPX file should be around 34 MB per frame.

Or you could encode that to REDCODE RGB for which you can probably set some level of compression. Do you plan to offline in lower resolution than 4K?

[Patrik Forsberg]

I´m planning to copy our film procedure, ie one-light to dv, on-line high-res. I guess my real question is: If you shoot red-code 27Mb, what would be a sensible on-line format. The reason I ask is that when we first started to use HD-cam, we logged uncompressed HD for on-line, which was sort of wierd since HD-com (not SR) is basically a dv-stream.

Thanks
Patrik

[Graeme Nattress]

REDCODE RAW is a camera format only. You can't render back to it. That's why Rob suggests using REDCODE RGB as your rendering format.

Graeme

[Stuart English]

Stiller - any reason to do a "one light to DV" ? Why not to a higher resolution format?

At what frame rate would the DV off-line be performed at? Are you creating DV / DVCAM tapes for that or putting all off-line material directly on hard disks ?

Just interested in your thinking here ...

[Nick Shaw]

I would expect my standard workflow to be a "one-light to DV" for offline, and match back in REDCINE to whatever format was required for the online, unless the specific project required me to see fine detail while cutting. Even then I could go back into REDCINE and check detail on particular shots.

DV is a very convenient offline format (I use it for most of my editing, HD or SD) as it gives the maximum RT in Final Cut. It also means I can easily transfer an edit onto a PowerBook to take to a client for viewings. I would hope REDCINE would be able to do a real-time or faster transfer to DV QuickTimes (probably at draft quality for speed).

Being in the UK I would forsee most of my projects being 25fps, so I would not normally have to make decisions concerning adding pulldown for offlining. But even if I had a 24p project, I would prefer to cut at true 24p, and any layoffs I did to tape could be converted to 24@25.

Nick

[Patrik Forsberg]

Like Nick said,

DV has the best speed/visability-ratio when it comes to off-line editing. We might have 3 hours of material for a 30 second spot, and dv has proved a very good compromise. When edit is set and decided for, we go into heavier/slower codecs. And that's back to my initial question: What is a good online format coming from redcode raw going to television.
All the best
Patrik