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Workflow advice for syncing/narrative editing

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Patrick BarnesWorkflow advice for syncing/narrative editing
by on Sep 5, 2011 at 4:09:59 am

Hi All,

I'm trying to get advice on best workflows for cutting a narrative film shot on the 5D, double-system sound, in FCP. I was hoping to use PluralEyes to sync sound and create merged clips that I would then use to cut with, but the results from PluralEyes are not what I expected. To top it off most of the shoot was shot with two 5Ds, so we are dealing with multicam in a sense as well.

The film will be onlined at the end of editorial using the original H264 files so also being able to clearly identify both audio and video with the merged clips is also important.

Any advice is greatly appreciated.

Thanks,

Patrick


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Michael GissingRe: Workflow advice for syncing/narrative editing
by on Sep 5, 2011 at 7:08:22 am

[Patrick Barnes] "The film will be onlined at the end of editorial using the original H264 files"

This is not a good idea if you are grading with Color or onlining in Final Cut. Once you have used Log & Transfer to capture and convert files to ProRes422, you should stay with that for grade and online.

Have you watched Shane Ross's two tutorials on tapeless workflow and offline/online in FCP?

http://library.creativecow.net/ross_shane/tapeless-workflow_fcp-7/1

http://library.creativecow.net/ross_shane/tapeless_online/1


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Patrick BarnesRe: Workflow advice for syncing/narrative editing
by on Sep 5, 2011 at 8:05:31 pm

Thanks Michael,

Those tutorials are great but cover what I already know. Right now, it's more about the most efficient way to sync all of the material and create merged clips that I can edit with, and to make sure those merged clips will then conform later to online, and also for the sound mix.

As far as using the ProRes to do color correction, I've been advised by the DI Producer at Sony who is overseeing the color correct to online using the original files. I assume they have a better color space, no?


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Michael GissingRe: Workflow advice for syncing/narrative editing
by on Sep 5, 2011 at 10:32:07 pm

[Patrick Barnes] "I've been advised by the DI Producer at Sony who is overseeing the color correct to online using the original files. I assume they have a better color space, no?"

No. The H264 is 8 bit and bog down grade systems like Color or da Vinci. I see no gain in image quality grading from them, just slowing of the RT capabilities of your system, plus the pain of relinking media and the inevitable dramas that causes.

I would like to see evidence that it makes a difference but my experiences as a grader using Color is that this workflow is pain without gain.


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Patrick BarnesRe: Workflow advice for syncing/narrative editing
by on Sep 5, 2011 at 10:36:12 pm

Thanks Michael,

I hope you're right. I'm going to pass this along and I'll report back on what I find out.

Cheers,
Patrick


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Michael GissingRe: Workflow advice for syncing/narrative editing
by on Sep 5, 2011 at 10:53:22 pm

[Patrick Barnes] " I'm going to pass this along and I'll report back on what I find out."

Yes please do. Do a test. It is always quicker to test with a few shots before making big workflow decisions.

With regards to Pluraleyes, all I see is finished programs so I can't advise on how to get the sub clipping sorted. Editors rave about Pluraleyes however. If you stay with the ProRes and don't relink, then issues like merging are not a problem. I also do sound post and have not had issues with OMFs from FCP merged clips importing perfectly into Fairlight. There ,may be issues if clip names matter to relink to polywavs if the ediotr has been working with a mix down, rather than the multi channel wav files.


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Shane RossRe: Workflow advice for syncing/narrative editing
by on Sep 6, 2011 at 8:56:35 am

Listen to the DI guy at the place that will be doing the color correction...not us. They know what they want. Listen to their needs.

Shane

GETTING ORGANIZED WITH FINAL CUT PRO DVD...don't miss it.
Read my blog, Little Frog in High Def


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Michael GissingRe: Workflow advice for syncing/narrative editing
by on Sep 5, 2011 at 10:45:44 pm

To clarify, ProRes422 has much better color space, but the limitation is the original color space and bit rate in the H264 format. The graded images will no doubt be rendered out in a 10 bit 422 or 444 file to maintain the grey scale detail and the color space of the graded footage.

ProRes 422 to my eye is lossless on this one render stage out of Color but the RT performance in FCP and Color make it easy to work with and you can go straight to grade without worrying about relinking to files that therefore must have the same attributes.

Having shot with a 5D, the original quicktimes do not have proper timecode so relinking will be a nightmare. A reconform with L&T using the full directory structure will read the time data and generate the timecode that the ProRes files will have, but this is not the same as the time data in the camera files if they are just relinked in Color.

So if the original capture was with L&T you have timecode differences. If you used Compressor or other programs, the time data will have been ignored and each clip will have the same timecode ie: every clip starts at zero. Ironically this will work better but still not what I would recommend as an efficient best practice workflow.


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