Shameless Promotion

[Rmherd]

I watched the show. Those were some great performances. I couldn’t tell the difference between the s16 and P2, but I have a caveat: my cable company doesn’t offer HD. I live in the boondocks of South Lake Tahoe.

I do however have a question: how do you organize your P2 cards, the footage, and the notes from the script supervisor? Literally, who do you give your P2 cards to when they’re full? What does he/she do with them? (Do you color correct then or later or at all?) Then where do those files go to integrate into the s16? Regarding s16, what is your transfer method? For example, do you convert film to DPX_2 or some other format?

Basically, I was hoping for a literal breakdown of the process, including meta data and script supervisor notes, as well as creative/emotional influence on your decisions.

Thanks a million!

RH

[Todd Mcmullen]

well, first off I was just hanging out in the boondocks of Homewood, on the west shore of tahoe. Man was it cold.
regarding p2. I have used this quite a bit and everyone has an idea on how to handle it. It really depends on what editing system your editors are using.
Most network and film people use avid. Theese editors take the mxf file and get it to the avis timeline then they output through a AJA or blackmagic card to a digibeta or whatever they are using.
However, if you are using FCp then you can incorporate into your timeline and use it.

here’s a p2 workflow:
Shoot on p2 in whatever format 720 or 1080
download full card to a hard drive for xfer to post facility.
erase card for furthur recording

film workflow:
shoot film
send to lab for processing
film is xfered to hD or digibeta format
input into editing system

edit show
lock edit and sound
do color corection on final edit
do on-line edit to master

Not sure on metadata, sounds technical.

Hope this helps

cheers

Todd McMullen
Flip Flop Films
Austin
Cinematography Forum Leader