Archive Wisdom

[S. Um]

http://www.ikegami.com/IKEGAMI_NAB_2007_FINAL.html
Looks like Ikegami doing the holographic archiving HDS-300R external holographic drive. Hope it brings the InPhase Technologies Tapestry HDS-300R prices down.

I think Ikegami is just re-branding In Phase's drive, so it probably would not bring the price down.

http://broadcastengineering.com/news/ikegami_holographic_storage_20060918/

 

[JD Holloway]

Remember, there's an RGB version of REDCODE as well. You can't shoot it at 4K in-camera, but I'd be surprised if you couldn't encode it at 4K from QuickTime. I'm sure it would have a higher data rate than the RAW, but I'd think it would be pretty manageable.

Any idea about numbers Kenny? Compression ratios? I can't imagine any 4k RGB data being particularly smallish (explaining why it's not offered in-camera). But I'm not a post pro guy. Any help would be appreciated.

J

 

[Chris Kenny]

Any idea about numbers Kenny? Compression ratios? I can't imagine any 4k RGB data being particularly smallish (explaining why it's not offered in-camera).

I'd guess it's not offered on camera primarily because the camera doesn't have a fast enough processor on board, rather than specifically because of data rate issues.

But as far as data rate goes... worst case scenario would seem to be 3x the RAW data rate, so about 90 MB/s. However, while RGB has three times as many channels, they should each have less spacial complexity. If I had to take a stab at a guess, I'd say somewhere in the range of 50-70 MB/s, at the same quality levels as the RAW.

It's also possible REDCODE will have selectable data rates; you pick your rate, it gives you the best image it can at that rate. Many modern codecs support this, though it's generally more common for distribution codecs than for acquisition codecs.

 

[martinnoweck]

I think I have to distinguish between two kind of projects:

- personal projects like own films or projects where I supply the whole production chain for clients from pre- to postproduction: for this kind of productions I will look for a tape (LTO or similar) based archive solution.

- for other projects where I only supply my craft as dop i have not found a solution yet, because I encounter two kinds of difficulties / dilemmas:

1. i am doing a lot of documentary work, for the last film we shot over 60 hours of tape. at the end of the shooting day, the ac labels the tapes and hands them over to the director, who will log them him-/herself at home and go to some editing place ... sometimes it is a special post house, sometimes a tv station, because they are co-producers -> often we don't know at the begin of production where the material will be edited.

2. many producers or not used to an IT-based workflow, either they still think in "tape"-terms or the insurance doesn't cover IT-based productions, so we are really thinking about establishing a "transfer shop", where RED pictures can be transfered to HDCAM SR for postproduction and archival purposes ...

Any thoughts about this - how will others approach / support their clients?

Martin