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Workflow suggestions - Cinema DNG --> Stabilization --> Compositing --> Editing --> Compositing...

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Karel Voners
Workflow suggestions - Cinema DNG --> Stabilization --> Compositing --> Editing --> Compositing...
on Sep 1, 2015 at 12:51:57 pm


I'm starting a personal project but I would like to have some advice in terms of what software to use and what workflow to follow. I have FCP7 and the Creative Cloud suite and Resolve. But I can also use Avid if needed.

The film I'm working on is an experimental piece where the majority of the film would be static shots of wide angles and medium shots.

I shot a lot of footage in CinemaDNG handheld from a fixed camera point of view that need stabilization. (A tripod could not be used).

I want to change some of the timing of some of the actions that happen in the shot. (Think wide angle (top)shots where people are walking in and out of the frame. I want to paint them out or have them walk in the frame at a specific point in time) This can only be done after stabilization obviously.

Then I also want to edit all this footage so there is a story, this would happen in prores or possibly something else.

I am wondering what kind of workflow would give me the best flexibility.

In order to composite I would need to stabilize first. In order to edit I would need to composite first etc...

Is there a workflow where I could stabilize, composite and edit and can go back into compositing if needed? And in the end could possible do the final grading.

All very confusing, I know...

Thanks for any suggestions though!


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Mark Suszko
Re: Workflow suggestions - Cinema DNG --> Stabilization --> Compositing --> Editing --> Compositing...
on Sep 1, 2015 at 6:24:41 pm

Well, you don't want to waste time doing a lot of stabilizing and comps on footage that doesn't make the final cut. Unless you can foist that process off on someone else ahead of time.

So, you could work first in low-quality proxy footage, then when your shots are all picked, you re-import the high grade footage and it drops into place on the timeline, replacing the low-rez stuff.

But we have your chicken-and-egg problem regarding the comps versus incorporating them into the edit. I think how i would approach this is to substitute pre-vis footage, no matter how crude, into the edit, to get the overall timing more or less right. That then tells me the exact durations and types of composite shots I will need to complete.

It becomes a game of replacing the pre-viz with the comps, one piece at a time, then doing a final pass thru all the sections to tighten up any loose edits and apply overall correction "looks" and audio finishing.

I'm not claiming this is the "best" way. This is just how I think about the job myself.

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