Big project need to keep size down and EDL question

[Rafael Amador]

[Roli Rivelino] “I’m just about to start the biggest project I’ve done so far, the footage is a mixture of XDCAM 25 fps 35 vbr, already converted mini dv and a little 35mm.”
Hi Roli,
So, you have everything now on 1080?
I hope the MiniDV, have been converted to Prores.

[Roli Rivelino] “The sequence will be set up for the XD footage.”
Put all the setting up to the footage size, but set Prores on your sequence codec.

[Roli Rivelino] “So I need advice on how to keep the project as small as possible, how should I set up the project and sequences, render controls etc.? “
No much you can do but trying to work as native as possible.

I wouldn’t worry about the “Render Files”.
Set your FC to edit as easy and fast as possible and think of trashing all the renders before making a final export with the top quality setting (High Precission and High Qualitty Motion filters).

[Roli Rivelino] “The DVD is fine, but I’m going to use an EDL for the 35mm and I’ve never worked using an EDL, how should I set that up? Is there anything I should be looking out for?”
Make a 1080p25 QT Prores HQ Master and let the 35mm guys take care of the rest.

Lat year I made a short to be printed in 35mm I had very good tips on this forum and on the Color forum. Search the posts; they will be of great interest for you.
rafael

http://www.nagavideo.com

[David Roth weiss]

[Roli Rivelino] ” I need advice on how to keep the project as small as possible, how should I set up the project and sequences, render controls etc.? “

Roli,

Do yourself a big favor, forget about the project size entirely. That’s “false economy,” and it is one of those things that stands a chance of ruining a project and possibly a career. 2Tb hard drives are on sale all over now for a measly $86, so why worry about storage space at all — storage is absolutely the least expensive part of post-production now.

When 2Gb drives were $2000, storing 120 hours of footage was an issue that had to be dealt with, but today, 120 hours of footage is just not that big a deal. If you let that become the driving force behind your workflow, and if you get caught up in a situation where you have to worry about all kinds of unnecessary offline to online stuff for various types of different footage and frame rates at the tail end of your first big project, you’re could be in for a world of hurt.

It’s tough enough to figure this stuff out correctly before and during editing, but to figure it out when your story is completely edited and when you’re under the gun at the bitter end, is just asking for trouble. At the tail end money will be tight, time will be tight, and everyone will be on your back requiring a working copy of the project that they trust so that they can do the music, mix the audio, create the titles, etc., etc., etc. So, if you’re still dealing with an offline version, instead of going online all the way, things will get very tough for you.

David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los Angeles
https://www.drwfilms.com

POST-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.

[Roli Rivelino]

Mmm, food for thought there guys and some very good advice, which I’ll definitely be following.

Many, many thanks.

https://www.rolirivelino.com/

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