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Nikon D3 FCP 7 workflow
Cutting a live action animation type film.
All shot on a Nikon D3 at 15fps with a 2128 x 1416 frame size.
In the field so, using fcp7 on laptop and drives.Workflow running is:
> Wrap image sequence in qt wrapper
> Convert each clip to 25fps prores proxy qt in mpeg streamclip.
> Editing from these proxies (to minimise render)
> Reconnect timelines to original qt wrapped seq *
> Export tga seq, and png ref clips for comp-grade on flame.At the * reconnect stage its been suggested that the
original playouts should be converted to prores hq,
and edits conformed to those before creating the tga’s. Is this necassary?
Any envisaged problems or other suggestions with the above workflow?Thanks for all your help.
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2 Replies
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[Seb Ratcliffe] “Any envisaged problems or other suggestions with the above workflow?”
My only suggestion is that you shoot with a different camera. 15fps? Really? And you need 25fps? Doesn’t make sense to me, when there are so many good quality cameras that shoot 25fps natively.
Arnie
Post production is not an afterthought!
https://www.arniepix.com/ -
Shooting at 15 fps is for the tilt & shift minaturisation effect.
Attaching large format lenses to regular sensor cameras gives this effect. Can’t be achieved effectively on regular camera set-up without heavy post. At 15 fps people, cars etc move like toys ie animatedI ‘need’ 25 fps because thats the only editing timebase in pal-land, which is why convert to the proxies, so don’t have to render everytime I do anything in the timeline.
But the real quandry is if when I reconnect back to the qt wrapper this is the best quality to create to tga sequence for the grade. ie its the orignal photos wrapped. Or should new proresHQ be reconnected to before created tga’s. It’s an image quality question I guess.
Thanks
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