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Need help figuring out my workflow for a short doc

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Scott Busch
Need help figuring out my workflow for a short doc
on Nov 2, 2009 at 9:12:46 pm

I just recently got on board a short doc as an Assistant Editor. Basically, they need me to recapture all the footage and completely recreate the fine cut because their editor captured it in SD, not HD. The editor originally captured it into Avid. But I will be using Final Cut Pro to capture and completely recreate the exact same cut with an Apple ProRes 422 workflow.

My knowledge of the technical aspect of HD is a bit weak. I'm really needing a second opinion and to make sure I'm doing this the best way.

I will be editing on a MacBook Pro 2.4 GHz Intel Core 2 Duo, 2GB memory with a LaCie 1 TB external firewire hard drive.

Questions:
I know for sure we want an Apple ProRes sequence. However, I'm not sure if we should be capturing from the HD miniDV tape to the Apple ProRes codec or to HDV codec. I've been told that if I wanted to capture in Apple ProRes, my MacBook Pro would not be powerful enough and that I would need to capture on a Mac Pro. Is this correct?

I want to make sure that if the footage was shot at 23.98/1080p, then the editing sequence should be at 24p, correct?

I'm also trying to think ahead for people working on this in the future in terms of color correction. I've only worked with Avid on projects that have gone from the offline to online stage, not Final Cut. If the footage is captured in ProRes 422 codec, will the colorist need to recapture the selects in 1:1 or is ProRes 422 a high enough codec where recapturing for color correction wouldn't be necessary? If the Colorist will need to recapture, should I be capturing in Final Cut in a certain way or doing anything special to make his/her life easier?

Sorry for the bombardment of questions!

Here's a summary:
- Is my MacBook Pro powerful to capture HDV to ProRes?
- If not, should we capture to HDV or should I just capture to ProRes on a Mac Pro at school?
- Should the editing sequence be at 24p?
- Will the colorist need to recapture?
- If so, should I be capturing differently?


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Shane Ross
Re: Need help figuring out my workflow for a short doc
on Nov 3, 2009 at 11:40:33 pm

[Scott Busch] " I'm not sure if we should be capturing from the HD miniDV tape to the Apple ProRes codec or to HDV codec"

Depends on how much footage you have, how many hours of tape, how much storage. HDV is 13.6GB/hour...ProRes422 is 63GB/hour. You can do the math from there.

[Scott Busch] " I've been told that if I wanted to capture in Apple ProRes, my MacBook Pro would not be powerful enough and that I would need to capture on a Mac Pro. Is this correct? "

Nope...you can do it on the laptop. And you can use the HDV to PRORES via Firewire trick, but know that when you do that, if you lose the footage for any reason, you will have to recapture FROM SCRATCH, and re-edit that into the cut. It doesn't take into account pre-roll...and you cannot capture those already logged clips in this manner. Best to have a capture device to do this...and the only ones that work on a laptop are the MXO 2 series, and AJA IO HD.

http://library.creativecow.net/articles/poisson_chris/hdv-prores.php

[Scott Busch] "I want to make sure that if the footage was shot at 23.98/1080p, then the editing sequence should be at 24p, correct? "

Being that it was shot to TAPE, then the footage will be recorded at 29.97, and you'll have to remove the pulldown to get to 23.98. You can't do that with HDV native footage...you have to convert to ProRes to reverse telecine to 23.98. And AFAIK, you can't capture HDV as 23.98... but then again, my HDV experience is limited.

[Scott Busch] " If the footage is captured in ProRes 422 codec, will the colorist need to recapture the selects in 1:1 or is ProRes 422 a high enough codec where recapturing for color correction wouldn't be necessary?"

ProRes 422 is an ONLINE codec. Full res. Like DNxHD 145 and 220. No recapturing needed.

[Scott Busch] "If the Colorist will need to recapture, should I be capturing in Final Cut in a certain way or doing anything special to make his/her life easier?"

The Colorist will only need to recapture if you capture as on offline codec, like Offline RT, or ProRes Proxy. But if you DID do that, the usual rules apply: Make sure you have a REEL number, proper timecode, enough room for Preroll...and NAME THE FOOTAGE. Whenever I see a bin of UNTITLED and UNTITLED-1...heads roll!





Shane



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


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