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Finishing a feature edited in FCP
So I’m about to wrap up an indie feature, shot 7D and Varicam, and editing in FCP with ProRes4444. Turning out pretty cool. Getting a nice response from sci-fi fests and industry peeps. BUT, it’s my first feature and I’m not exactly sure the best way to get it through the finishing phase.
It will probably not have a theatrical release, but if it does it will be very limited in digital theaters after a conversion to whatever that format is. (I can’t remember what it’s called.) Most likely go on SyFy Channel and then to DVD. It will be colored on a DaVinci resolve.
I just wanted glean any quick pointers on going into the coloring and finishing process.
I’m planning on giving the colorist a big huge prores 4444 file with an EDL, which should chop it up nicely in Resolve.
Is this the right approach?
What questions should I be asking the colorist?
What format do I really want my super final master in?
Are there certain steps in the process to watch out for in order to avoid big generation losses?
Are there different versions of the rec 709 spec I should be thinking about?
Anyway, any thoughts would be super helpful. THANK SO MUCH!!!
-Tom
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3 Replies
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I’m not knocking DaVinci Resolve, just wondering exactly how/why you made the decision to go that route rather than Apple Color? Was it price? Was it the experience of the colorist? I ask simply because I think Color would be so much easier, since you edited with FCP. Care to share your thought process?
David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los Angeles
https://www.drwfilms.comPOST-PRODUCTION WITHOUT THE USUAL INSANITY ™
Creative COW contributing editor and a forum host of the Business & Marketing and Apple Final Cut Pro forums.
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Mostly because the colorist I decided on just barely bought a huge resolve setup and is eager to use it! 🙂
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I’d make the master on HDCAM SR, then whatever copies you end up making from that will have the best chance of remaining at the best possible quality.
Copying digital files/tapes doesn’t incur a generation loss, what does is changing codec, frame size and rate, so you want to avoid those kind of processes unless you absolutely have to.
You can ask your colorist anything you want to! But don’t waste their time, what you need to do is agree on the “look”, then let him/her get on with doing the job (then you can watch it through and make a note of any changes you want before mastering it).
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