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gunnar Kordestani
workflow
on Mar 2, 2010 at 4:14:11 pm

hi there,

I will be involved in feature film editing soon. All quite new to me, so I am wondering about workflow, framsize, rates, codecs etc. pp. lately.

Camera: Sony HDW-F900 HDCAM
final output: HD Tape and then on film.
framerate: 24p or 23.98p
framesize: 1920x1080 or 1280x720 probably

Hardware: MAC Pro with 2 QuadCore CPU's and 4GB RAM, AjA KONA LHe, fibre Channel RAID

Software: OS Leopard or Snow Leopard, FCP 6 or 7.

My first guess: "Apple Pro Res 422 HQ 1920x1080 24p"

...should work for editing according to my hardware (2 Quadcores, fibrechannel RAID).

Or would anybody suggest something else (like DVCPRO HD, or so)?

all comments are highly welcomed



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John Fishback
Re: workflow
on Mar 2, 2010 at 4:45:24 pm

If you search you'll find many recommendations. However you choose to go, test yout workflow before you shoot. Take your workflow up to the video master for filmout. Bring that to folks who'll do your filmout and let them evaluate it. You don't want to find you have a problem after the shoot.

John

MacPro 8-core 2.8GHz 8 GB RAM OS 10.5.8 QT7.6.4 Kona 3 Dual Cinema 23 ATI Radeon HD 3870, 24" TV-Logic Monitor, ATTO ExpressSAS R380 RAID Adapter, PDE enclosure with 8-drive 6TB RAID 5
FCS 3 (FCP 7.0.1, Motion 4.0.1, Comp 3.5.1, DVDSP 4.2.2, Color 1.5.1)

Pro Tools HD w SYNC IO & 192 Digital I/O, Yamaha DM1000, Millennia Media HV-3C, Neumann U87, Schoeps Mk41 mics, Genelec Monitors, PrimaLT ISDN


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gunnar Kordestani
Re: workflow
on Mar 2, 2010 at 11:13:21 pm

thx John. discussing it the online editing people would be essential, I know. and I will.

Until then I am interested in opinions of people with more experience then me, though. So any opinions out there?

"ProRes 422 HQ 1080p 24" managable with mentioned hardware?
Read a comment here "Prores HQ is overkill and a waste of valuable storage..." unless u where shooting at 2k or 4k.

thx





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Matt Lyon
Re: workflow
on Mar 3, 2010 at 5:48:43 am

Gunnar, I agree with John ... you need to talk to the post people, figure out your deliverables, then work backwards.

But the main question I have is: are you delivering the final, conformed, color corrected tape to the film-out facility, or are you delivering an offline edit, and having a post facility do the online conform? This will be a huge factor in your workflow.

Remember, it is still very common for features to be edited at "offline" data rates (or even in SD, for that matter), then re-conformed in uncompressed quality AFTER the picture is locked. Hard drives are relatively cheap these days, so it is much easier to work at online HD quality the whole way through these days BUT it is a fine balance of picture quality, editing speed and rendering time.

You need to do some math and figure out how much footage you'll be dealing with and whether you can fit it all on your RAID array. This will affect your decision of frame size and codec. Remember to account for leaving a healthy amount of free space on the drive to prevent system slow down.

I would also suggest digitizing your rushes with burn in timecode ... this will save you potentially lots of headaches during the conform.

Hope this helps,

Matt Lyon
Editor
Toronto


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gunnar Kordestani
Re: workflow
on Mar 3, 2010 at 8:34:58 am

Hi Matt,

well, it seems we have to talk about a whole different world now. Putting the outcome on film just got cancelled. Have to deliver to DVD now (whether SD or BlueRay Disc was still not revealed to me).

Due to the length (or better shorth) of the movie, disk space is not so much an issue. In Order to make it simple in my had I prefer editing in online Quality (if my hardware can handle it, which I still think).
"I would also suggest digitizing your rushes with burn in timecode ... this will save you potentially lots of headaches during the conform."

that would be for offine editing and then conforming to online quality later, right?

thx
Gunnar



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Matt Lyon
Re: workflow
on Mar 3, 2010 at 9:42:40 pm

"that would be for offine editing and then conforming to online quality later, right? "

Yeah, that's the main reason ... if all goes well, you'll never need to reference the burn in timecode, but it is nice to have there "just in case." There are other reasons it can be helpful: it's a quick reference should someone want to go hunting for something on the dailies tapes; or sometimes the sound editors find it useful.

If you guys are shooting camera tests, I'd push to get those tapes so you can test your workflow. And definitely consider a final conform at uncompressed quality.

Good luck!

Matt Lyon
Editor
Toronto


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