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Multiple format project laying off to HDCAM for Delivery & Archiving?!
I posted a week ago and got some good answers from Matt Devino and others, and now I wanted to expand a little further on the topic as new info as come in about the clients expectations for delivery.
Originally I posted a question about what format timeline should i bring all of these different formats into in order to edit with knowing that my delivery woudl be a 1080i HDCAM.
Matt D. had suggested working in a ProResHQ 1920×1080 29.97 timeline w/field dominance set to None. This would output to your HDCAM tape nicely.
Archiving footage to HDCAM:
It turns out that the client wants all of this footage on HDCAM in order to ingest and edit with on an AVID system and then once they are ready they will send us back to finish – we are all FCP here and have done this back and forth with them before but not on such a big scale with this many formats of footage. SO I want to make this process as smooth as possible obviously.
The thought my boss had was to just put everything on one timeline grouped in order of what camera it was shot with (i.e. all the RED, then all the p2, etc).
He suggested that I just put a one frame slate in front of each shot which says the shot name, format, in & out timecode & duration – he was thinking to just put it all in one ProRes HQ 1920×1080 29.97 timeline w/field dominance set to None BUT it seems others on this forum suggested laying off individual tapes according to what format they are NOT what everything will be conformed to in order to edit with. I would like to get some opinions on this and which makes the most sense, as well as how best to go about doing so.
Thank You in advance!
Sean
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