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It doesn't look that pretty, but it would make Avid media highly portable over the internet for an offline edit. For most projects, I just eat the additional shipping cost as it is a small price to pay for the project.Īnother thing to point out is that Avid snuck in a H.264 800kbps proxy transcode option at some point.

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1 out of 30 drivers won't do it, but most will- I just make sure I show them the small hard drive in the box so they know I'm not a drug runner and I tip well.įor long distance clients, Fedexing a hard drive overnight isn't that bad and is a lot less hassle than trying to transfer TB's worth of online footage over the internet. Here's what's worked for me during the Corona.Īround town here in LA, we've been using Uber/Lyft as an unofficial courier service of hard drives. Now that we're almost a year in, what has worked the best for you? So, has anyone sucessfully streamed 720p/1.080p using a similar one-machine-setup? Or has anybody successfully streamed from and to Europe with any other configuration and, if so, what equipment was involved? CPU was clearly pushed, mostly by MC, but still had headroom. But maybe 'just within' ist just not good enough playback Media Composer AND stream MC’s output at the same time. experiences.) But according to the Evercast support and due to WebRTC physical distance should not make a (significant) difference.Ģ) Hardware: at the moment I only have my field gear at hand, which is a 2017 MBP / 3,1 GHz i7 / 4GB GPU / 16GB RAM.

(I need to stream from and to Europe, hence the question specifically about outside U.S. So I was wondering if traffic going through servers on the other side of the world might be a problem.

I did multiple speed tests and none of them showed any discrepancies.

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Taking the software itself off the list of potential culprits - due to its reputation and testimonials - leaves me with two other things to look at:ġ) Internet connection: 40 Mbit up, 100 MBit down, hard-wired. In order to make a more succesful second try in the near future, I am trying to figure out the bottleneck(s). But the outcome was always something between reasonable-but-unstable and just-not-good-enough. So, being well aware of and interested in other approaches, for now it’s Evercast or nothing.ĭuring a 3-days-trial I tested a variety of settings (bitrates 500-10.000, the different codecs, resolutions ≤1.080p and other tweaks), with and without video conferencing as well as screen-capture (plus Loopback) vs. The distributor of the project I am currently working on, has only approved Evercast as a streaming solution for this project. Has anybody made any first-hand experiences with Evercast? Outside the U.S.? Have anyone else done a complete post-production pipeline for a single-user freelancer that didn't cost an arm and a leg and proved to be easy for everybody involved? I usually have to use a combination of Avid, DaVinci Resolve, Premiere and After Effects before sending it off. I have to be able to take most of the workload from 'check the gate' through to delivery and that includes all the editing, and most of color-correction, music editing, audio, motion graphics, vfx. So far I've been at the mercy of solutions that production companies have for getting my hands on the material (Google Drive, Dropbox, wetransfer) but most of the time they don't know what they are doing and things go haywire pretty quickly.Īs a one-man-show I need to be able to offer such an easy solution for production companies that all they have to do is to plug in a drive and start uploading material. I've been pushing for remote work for a while now and it seems that this situation have really brought this to light. With the Corona looming around, the question about working from home is coming up.