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.
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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.
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?
"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.