Pro Res on FCP 5?

[Bruce Greene]

I was just thinking that I should check about the whole work flow with some “real” editors.

I’m on location shooting a feature film for the Russian market. We will be shooting 24fps film.

The film will be telecined in an HD format. Someone has suggested Apple prores 422 HQ 1080 23.98 fps. The lab will send a firewire drive to the set for duplication for dailies and the editor in moscow. Sound will not be synced by the lab I understand.

The film will be edited on FCP and the selected takes will be scanned for a DI color correction.

Does this sound like a proper work flow? There seems to be no “editor in charge” at this point to approve the workflow. And what frame rate/ time code should the sound recordist use?

And lastly, they will not be using a smart slate and the sound will have to be synced the old-fashioned way by eye viewing the slate clap.

And one more thing: Would there be any disadvantage in using DVCproHD instead of pro res just for picture editing?

Thanks so much!

-bruce

Varicam/Steadicam Owner
Los Angeles, CA
http://www.brucealangreene.com

[Sean Oneil]

[bruce alan greene] “Can I use Pro Res codec on final cut pro 5?”

Yes, you can. But you must first acquire codec from a Mac that has Final Cut Pro 6 installed. You find it in the /Library/Quicktime folder. You can copy it to your FCP 5 system and I can say from 1st hand experience that it does work. However you won’t get any real-time effects with it.

I’m not 100% clear on your workflow. Is this for OFFLINE editing only? Are you later going to replace the video with the DI scans? If the answer is yes, then you should just use DVCProHD. There’s no downside.

Sean

[Tom Wolsky]

The ProRes codecs are only available with the purchase of FCS2. They are not free software, and it is wholly illegal to give the software to another user, or to copy it from one machine to another.

All the best,

Tom

Class on Demand DVDs “Complete Training for FCP6,” “Basic Training for FCS2” and “Final Cut Express Made Easy”
Author: “Final Cut Pro 5 Editing Essentials” and “Final Cut Express 3.5 HD Editing Workshop”

[Nick Meyers]

Russia is Secam / PAL,

so check with them if they want 23.976 of not.
they may prefer true 24fps, or 25fps

i’m getting realtime playback of Prores in FCP 5.04.

i have FCP6 on the same machine, though that might explain that.

cheers,
nick

[Bruce Greene]

[Sean ONeil] “I’m not 100% clear on your workflow. Is this for OFFLINE editing only? Are you later going to replace the video with the DI scans? If the answer is yes, then you should just use DVCProHD. There’s no downside.”

Yes, it’s for offline only. As far as frame rate goes, I wish there was someone from the post department to say what they would need, but it seems no one will step up to the plate on this…

The one thing that it seems they want is 24fps in the movie camera.

Varicam/Steadicam Owner
Los Angeles, CA
http://www.brucealangreene.com

[Sean Oneil]

[bruce alan greene] ”
Yes, it’s for offline only. As far as frame rate goes, I wish there was someone from the post department to say what they would need, but it seems no one will step up to the plate on this…

The one thing that it seems they want is 24fps in the movie camera.”

The telecine will be done at 23.98. DI film scans are just a still images (image sequence) and can be played back whatever framerate you want. So when you finish you can bring them in to your project and color correct at 23.98.

If you are going back to film (doing a film-out) then the video and audio will first need to be conformed back to 24.00 using Cinema Tools. If this is for a high-def tape delivery, than you keep it at 23.98 (technically 23.976 which is what many non-Apple products refer to it as).

Sean

[Nick Meyers]

telecine can be done at any rate, really. 23.976, 24 or 25.

as i say the Russians might not be familiar with a 23.98 workflow.

im not that familiar with it myself, (Australia is PAL)
but i believe that the audio needs to be recorded at a 48.08khz sample rate if you go with a 23.976 workflow???
frame rate @ timecode dont matter so much,
but really dont take my word for that.

good luck,
nick

[Sean Oneil]

[Nick Meyers] “but i believe that the audio needs to be recorded at a 48.08khz sample rate if you go with a 23.976 workflow???”

It doesn’t need to be. Cinema Tools will adjust the sample rate accordingly to whatever framerate you conform the video to.

Sean

[Gary Adcock]

[Nick Meyers] “Russia is Secam / PAL, “

Russia is PAL not seacam.

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows
Inside look at the IoHD