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Workflow reality check, please
OK, I’m a DV/standard def XPRO guy coming over to FCP. I’ve got to budget for a cable net series pitch, I’m sure they want delivery on HD, looking for a reality check on workflow.
If I shoot Dv (DVX100a) 24p, come in to FCP, I can come out via Kona LHe (bought a quad core a few months ago, no card yet) and upconvert to HD. Correct? Now, many questions.
Is this an acceptable workflow for cable net reality series? What should I expect for final quality? What should I be looking at for an entry level deck? I’d like to stay DVCPro, when the firestore ships I’ll move to HXV at 720p, if we get a green light, of course.
And for the first run/pilot, can I come out as DV and just do a bump up at a dub house, or is deck rental a better idea? Will a bump up from dv be broadcast quality?
Now, getting ahead of myself, although these are not budget questions, what are my FCP timeline options ( I understand they change based on what I come in and out as).
Think I’m on the right track, been lurking here for a while, thanks.
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3 Replies
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[StuS57] “I’m sure they want delivery on HD, looking for a reality check on workflow.”
First of all, find out for sure because if you’re just doing a pitch, they may not care. We’ve done pitches on a iPod. Even for final delivery, they may or may not want HD depending on what daypart they plan to present the show on and what network you’re going to. With cable networks, NEVER assume anything. Get the production handbook or get clear directions from the person you will be presenting to.
[StuS57] “If I shoot Dv (DVX100a) 24p, come in to FCP, I can come out via Kona LHe (bought a quad core a few months ago, no card yet) and upconvert to HD. Correct? Now, many questions.”
NO. LHe ONLY downconverts. Kona 3 does the Upconvert.
[StuS57] “Is this an acceptable workflow for cable net reality series? What should I expect for final quality?”
If your final delivery is really HD, then you want to do the Upconvert on the way in and edit in HD. If you’re shooting in DV, then upconvert to DVCPro HD via the Kona 3. HD allows you to do much more in the way of color correcting than SD, so you want to see your final colors in HD, you really don’t want to finish and then upconvert on the way out.
[StuS57] “And for the first run/pilot, can I come out as DV and just do a bump up at a dub house, or is deck rental a better idea? Will a bump up from dv be broadcast quality?”
Again, do you need to show an HD pilot? Just show a DV letterboxed version. I don’t know of any network that would insist on seeing the HD version of a pilot unless you are specially instructed to do so.
[StuS57] “Now, getting ahead of myself, although these are not budget questions, what are my FCP timeline options ( I understand they change based on what I come in and out as).”
Anything you want. DV to 4:4:4 HD. Our workflow one series is DVCPro HD all the way. It’s shot on the Varicam with some shots via HVX-200. We then output that timeline to HDCAM for delivery to the network. The network has told us it’s the best looking HD material they’re receiving.
A new series is being shot on HDV but we will convert all the footage to DVCPro HD via the Kona 3 for Post. Again, we’ll finish in DVCPro HD and master to HDCAM.
However, Gary Adcock chimed in on the Kona forum that Discovery Networks are now accepting DVCPro HD as a Master format. So we’re going to petition some folks to allow us to start delivering DVCPro HD masters for our shows because that presents a signficant savings per year per series.
Walter Biscardi, Jr.
https://www.biscardicreative.com
HD Editorial & Animation for Food Network’s “Good Eats”
HD Editorial for “Assignment Earth”“I reject your reality and substitute my own!” – Adam Savage, Mythbusters
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Hi Walter,
Thanks for the detailed reply. I’d hoped you
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[StuS57] “In terms of monitors, I know you & others recommend the PVM14L2 with a card. How about a deck? Is the AJ HD1200A my only choice to create DVC Pro HD master? If so, looks like I may be renting one on output days for the first run, or a Sony if HDCAM is required.”
I actually recommend the PVM14-L5/1 but they seem to be gone. Now I’m looking very strongly at the Panasonic BT-LH 17 and 26″ monitors. Seems that the colors are extremely true and hopefully this month I’ll get a first hand look at the 26″ version.
Panasonic is replacing the 1200A with the 1400 which offers insert editing and is a welcome improvement over the 1200A. Working with NLE’s you really don’t need the $60,000 version DVCPro HD recorder, just go with the 1400.
[StuS57] “In terms of storage, considering a Promax SATAMax external array of 2.5t , which should give me a fair amount of storage. Don’t seem to read much about them as opposed to other SATA arrays on this board, but I think they’re an upstanding company, and support is key for me on this first run, any opinions?”
ProMax is an outstanding company. I don’t run any of their storage here so I can’t really comment on the performance of the drives.
We’ve run the Med
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