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Online in 2k for 35 print
HI all,
I’ve just shot a stop motion animation short film in JPEGS, basically larger than 2k in res. I’ve done my offline in 720p DVCPRO HD, and it looks great. I was planning to retain the ability to online in 2k if I get the money for a print.So, my workflow has been JPEG > Giant Quicktime files (3k in ht) > DVCPRO HD downconverts > edit.
(I created 24 fps image sequences in quicktime pro that have the same dimensions as the JPEGS and exported the DVCPRO HD versions of these in compressor)For the 12 or so greenscreen shots, I imported the large QTs or JPEG stills into MOTION, and exported a DVCPRO HD file from there via Compressor 2.
Doesn’t seem like the online will be too difficult, if I have to re-export those shots from the Motion projects in full size. But no matter what, I know I’d need to be able to actually edit, its inevitable with this kind of film, with various photoshoppping, motion work, color correction, so I am wondering if I can do this in FCP or will I need to move to a different system to do a 2k online?
The goal then would be to export a 2k image sequence or other format to bring to the DI company who could print it to 35mm.
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5 Replies
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The Kona 3 card supports 2k. If you have a Mac Pro or G5 Quad you can install a Kona 3 & work in 2k. You’ll also need a lot of very fast storage to work in 2k.
As for what you’ll need to deliver to the lab, well that depends on the lab. Every lab will have it’s own requirements, which are based on their own unique way of working. Many will take a tiff, Cineon or DPX sequence, others may require D5 tape. The sooner you choose a lab, the better, so that you can start working towards conforming to their standard.
Arnie
Now in post: Peristroika, a film by Slava Tsukerman
https://www.arniepix.com/blog -
Well it’s the color correction that would be the thing…
You could do this on an FCP system that has a Kona 3 card and monitor to match… (i.e. an HD monitor)… But the approach could also be done figuring using your system, then a color timing done in the DI process. Would take some very serious disk arrays for the 2 k playback… very serious… and working with 2k files on a less than really fast mac could be pretty tedious. You’ve already experienced some of that on your current system, right?
Jerry
Apple Certified Trainer
Author: “Jerry Hofmann on Final Cut Pro 4” Click here
Dual 2 gig G5, AJA Kona SD, AJA Kona 2, Huge Systems Array UL3D
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compressed 2k is not too bad on FCP – use PhotoJPEG for your timeline codec perhaps? Kona will ourput 2k to an HD monitor, and we’ve used that at RED for viewing 2k downconverts quite nicely.
I’d probably see if you can get the project to a place that specialised in DI for filmout, and put it through their workflow, as how else will you have any idea what it will look like in the cinema?
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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Thanks for all the tips, everyone. I guess I’ll try to get as far as I can on my system before I inevitably have to move it to another system that can really handle 2k, and then I’ll save the color correction for the DI lab.
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That makes perfect sense.
Jerry
Apple Certified Trainer
Author: “Jerry Hofmann on Final Cut Pro 4” Click here
Dual 2 gig G5, AJA Kona SD, AJA Kona 2, Huge Systems Array UL3D
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