Silverstack lto write times1/9/2024 ![]() It was little things that won for silverstack. Hence silverstack won as even just the ale and aaf exports meant the editor had all the metadata as soon as they loaded the footage. I worked backwards from the edit - knew it was avid offline - so my intention was to leave nothing to the edit team. I looked at dozens of packages and spent a week researching workflows. I’m an editor myself but I had a big series coming in a couple of years ago and i decided i wanted to make the front end smooth so I did the dit myself for the guys. ![]() Look at the new frame.io approach too.īeyond that it’s really just keeping all your drivers up to date and a wide selection of peripheral card readers (and spares) a UPS and charge points for phones etc on your desk.Īs you evolve upawards you’ll no doubt add a grading panel and scopes and broadcast monitor but buy those off the back of productions. Ideally you want it automated so as you transcode they just trickle up all day. O/dailies will automatically send to their platform but silverstack will do arri webgate and others. If you can take care of that as well people will love you. Lastly familiarise yourself with the various cloud based dailies platforms. Any clones of disks or folders you make you want them verified so no more copying using the finder. I also am a huge fan of parashoot - it makes you point at a copy of the media before you can reformat the camera cards.īeyond that get yourself a copy of carbon copy cloner. the developers a really nice guy too which is always a bonus. I also used o/dailies with it which gives you nice progress bars and a searchable shot list on your phone for free. It’s not unusual to get a phone call saying ‘hey we’re shooting plates for ep4 sc203 what lens did we use on the wide’ click type scene number and tell them :) One overlooked aspect is as it grabs all the metadata from the camera files and you sync the shot info you become more integrated into production. ![]() Worth noting here that there’s a lot of work going into ai slate reading to save that effort but a lot of times you can just grab the slate info from the audio files once you sync them:) To make life easy in avid you can also kick out an aaf which lets the editor load all the rushes really fast and a ale file which will let the editor import all the metadata - it doesn’t take long to just type in the slate info for each clip and it makes you look really good to production. As you get faster on set it’s trivial to start syncing rushes, adding a lut or quick grade with the dop, then transcoding for edit. I wouldn’t media wrangle or dit without it - plus you can grow into it. It just makes life easy, creates the folders, multiple copies, media hashing, production reports, cloud access and so on.
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