FCP Workflow Conundrum

[Shane Ross]

Get FCP 7, use the ProRes Proxie as your offline codec. Then online on FCP at ProRes 422. Why online on an Avid? FCP does this easily without needing to try to switch platforms and buy software to make that possible.

Shane

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[Mark Raudonis]

Dustin,

We’ve been doing this for years. We use “Off-line RT”, which compares visually to AVID 30-1… meaning it looks like crap! However, it’s a VERY compressed file size, and if you’re talking about that much media, you really don’t have much of a choice.

We’re running an X- SAN with over 115 Terabytes of storage and it still isn’t big enough. Off-line RT is the only option for us.

Why would you be finishing on Avid? That’s just dumb! Pick one platform and stick with it. The amount of problems, issues, and hassles that come with crossing platforms are just NOT worth it.

Mark

[Steve Oakley]

I think the reality is are you going to be able to hold onto all that media for any recapture ? you could be looking at 1000+ media items between tapes, discs, cards. you’d have to label and store it all. there would be no getting it back.

then look at ProRes Storage rates and the fact that $129 buys a 1.5TB drive. for under $2k you can have 15TB of storage including cases. I’d capture at a suitable ProRes setting with something like a MXO2 and be done with it. to try to reload material like that would be nuts if you start to find TC breaks, DVD’s are ripeed w/o TC, reel names are wrong, ect.

and why “online” on a avid. this will be more then a world of hurt to try to redo. can’t picture any reason to do it… especially considering some avid’s use the same hardware as FCP ( AJA)….

Steve Oakley
DP • Editor • VFX Artist
http://www.practicali.com

[Morten]

An advantage for Avid Online is better color grading tools with curves, which I would love to have in FCP. Yes, Color is nice but we only use it for a few prestige projects.

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Finalcut Studio2, Dual G5, Kona 2, ioHD, X-Raid

[Dustin Park]

Thanks all, I also was sent a chart showing the Data Rate and GB/hr breakdown for various resolutions and it looks like OfflineRT is actually fairly close to 15:1 as opposed to 30:1, 30:1 would be unusable for us, while 15:1 is usable. Also, I was surprised to see that the ProRes Proxie is still fairly large, although I understand the incredible efficiencies it creates in the workflow. As for the finishing in Avid deal, yes the advantages are greater in color correction and the laundry list of network specs we have to meet is better achieved through Avid. Did I mention we are upconverting all this to HD in finishing as well?

[Mark Raudonis]

[Morten Ranmar] “An advantage for Avid Online is better color grading tools with curves, which I would love to have in FCP.”

I don’t understand that. If you know how to use Color, there’s no reason NOT to use it on every project (except maybe a quickie). If you’re going through the trouble of conforming, then you might as well do it properly. I guarantee you the hassles involved in going from FCP to Avid totally outweigh anything involved in using Color.

This argument just doesn’t make sense.

Mark[Dustin Park] “the laundry list of network specs we have to meet is better achieved through Avid. Did I mention we are upconverting all this to HD in finishing as well? “

dustin,

Nonsense. You should just say, “I’m more comfortable on that platform”. Don’t try to cloak it in techno justification, because I can cite you specific examples of our workflow and five years of historical data disproving that comment.

mark

[Dustin Park]

Mark,
First, no need to get hostile, this is my first experience with a Final Cut workflow so it’s all new to me. Second, all the finishing facilities we are looking into use Avid and their staff are only trained on Avid, which, I know, means we are looking at the wrong facilities, so if you have any suggestions for FCP finishing houses in Chicago, go ahead and let me know. Thanks!

[Mark Raudonis]

I’m not hostile. I just can’t stand information presented as fact when I know it isn’t true.

So, know that there’s a well established, time tested community of folks successfully using FCP from
start to finish in all genres of the industry. When you say “staff is only trained on Avids” that’s why you’re hearing and repeating untruths about the finishing process (AVID vs FCP).

I live in LA. I don’t know the Chicago scene. Perhaps someone else on this board will know.

Mark

[Dustin Park]

Mark,
I’m sorry to have offended you, I did not mean to convey any untruths about FCP, and I am aware that there are many people out there doing this, which is why I’m here: to learn the best and most efficient way of doing it to help out my client and get them the best deal at the same time. Thanks for setting me straight.

Dustin

[Mark Raudonis]

Dustin,

No worries. I’m NOT offended. Annoyed maybe, but not offended. What annoys me is that people with a vested interested in maintaining the status quo (AVID) cloak their defenses in techno speak that is patently untrue. I’m not surprised that the finishing houses you’re speaking with would attempt to sway you towards their workflow. That’s fine. That’s just business. But to do it based on a perceived technical advantage is wrong, and confirms the “commercial bias” of their position.

It’s not my job to sway you one way or another. Both platforms are excellent and have their own unique advantages. Pick one based on your own criteria and run with it. But… don’t let someone try to convince you based on weak technical arguments that really hide their investment bias.

Mark