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Best way to convert digi-beta to FCP
DVD rights to a 100 minute B&W film I directed years ago have just reverted to me.
I have a digi-beta of the film and want to redit it for streaming and DVD on FCP on an imac i7.
Should I have video lab turn the tape into PRO RES 422?
Would PRO RES HQ file be to big to handle? -
9 Replies
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HQ is overkill and could also prove to be more difficult for you to edit with only Firewire 800, which is pretty much an iMac limitation. ProRes 422 is perfectly adequate.
David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los Angeles
https://www.drwfilms.comPOST-PRODUCTION WITHOUT THE USUAL INSANITY ™
A forum host of Creative COW’s Business & Marketing and Apple Final Cut Pro forums. Formerly host of the Apple Final Cut Basics, Indie Film & Documentary, and Film History & Appreciations forums.
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David
How was film edited before apple came out with pro res?
2.66 GHz 8-core, ATI Radeon HD 4870,
FCS 3, AJA Kona Lhi“The creative person wants to be a know-it-all. He wants to know about all kinds of things: ancient history, nineteenth-century mathematics, current manufacturing techniques, flower arranging, and hog futures. Because he never knows when these ideas might come together to form a new idea. It may happen six minutes later or six months, or six years down the road. But he has faith that it will happen.” — Carl Ally
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Lots of hardware!
Seattle, WA
Videologist -
[Sohrab Sandhu] “How was film edited before apple came out with pro res?”
Here’s the long answer for you Sohrab…
First was film editing itself.
Then offline video editing on 3/4″ tape, with timecode and keycode window burns.
Then came the first NLEs using very compressed codecs that were tied to hardware, i.e. Avid, and Dsicreet Edit*.
Then there was uncompressed 8-bit and 10-bit codecs, but they require massive hard drive raids.
Then along came DVCProHD, which was one of the first high quality compressed codecs.
Then ProRes, and on the Avid side, DNX — both are high performance with relatively small file sizes — meaning, they are relatively lossless, yet play easily from most single hard drive solutions.
David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los Angeles
https://www.drwfilms.comPOST-PRODUCTION WITHOUT THE USUAL INSANITY ™
A forum host of Creative COW’s Business & Marketing and Apple Final Cut Pro forums. Formerly host of the Apple Final Cut Basics, Indie Film & Documentary, and Film History & Appreciations forums.
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David
What i meant was what codec was the film transcoded to?
Hmmm… uncompressed 10 bit. So how did they decide the resolution ? I am assuming 720 X 480 was too low a resolution for film.
2.66 GHz 8-core, ATI Radeon HD 4870,
FCS 3, AJA Kona Lhi“The creative person wants to be a know-it-all. He wants to know about all kinds of things: ancient history, nineteenth-century mathematics, current manufacturing techniques, flower arranging, and hog futures. Because he never knows when these ideas might come together to form a new idea. It may happen six minutes later or six months, or six years down the road. But he has faith that it will happen.” — Carl Ally
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This is why I gave you the all-inclusive answer…
Keep in mind, before HD there was only SD, so at best, film was telecined to 10-bit uncompressed at 720×486 anamorphic.
David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los Angeles
https://www.drwfilms.comPOST-PRODUCTION WITHOUT THE USUAL INSANITY ™
A forum host of Creative COW’s Business & Marketing and Apple Final Cut Pro forums. Formerly host of the Apple Final Cut Basics, Indie Film & Documentary, and Film History & Appreciations forums.
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[David Roth Weiss] “Keep in mind, before HD there was only SD, so at best, film was telecined to 10-bit uncompressed at 720×486 anamorphic.”
Oh my God! In today’s world its hard to believe that film was once telecined to 720×486.
Thanx David! This bit was missing in my knowledge bank.
2.66 GHz 8-core, ATI Radeon HD 4870,
FCS 3, AJA Kona Lhi“The creative person wants to be a know-it-all. He wants to know about all kinds of things: ancient history, nineteenth-century mathematics, current manufacturing techniques, flower arranging, and hog futures. Because he never knows when these ideas might come together to form a new idea. It may happen six minutes later or six months, or six years down the road. But he has faith that it will happen.” — Carl Ally
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Keep in mind that in those day it was telecined only for the offline edit, which would then be used as a reference for the physical online film edit. Either that or the final delivery was NTSC for TV.
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Thanks David Weiss and all.
The film was cut on a movieola — a 35mm projector for editing rooms with a 5 ” screen . The rattle of the movieola was so loud it was like editing under machine gun fire.
The digibeta was made from a print off the original negative. I’ll bring it into ProRes 422 and go from there.
(Which I want to do because I love the film, Coming Apart ~ Rip Torn and Sally Kirkland’s performances in it and my own quite original concept.)
Thanks for the help!
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