Tapeless workflow Online to Offline to Air

[Shane Ross]

Online on what? Tapeless offers either a workflow that is online all the way from start to finish (never working with an offline codec), or the ability to log and capture in a low res codec and then Media Manage and reimport just the footage in the cut at full res (all within FCP)…or the ability to import at full res, media manage to a lower resolution, then reconnect to the full resolution, and then media manage the cut just like the fully online workflow. The entirety of all of these workflows occur within FCP.

What it sounds like you want is to apply a tape based workflow to this new medium, and send it to something like a FLAME or DaVinci. Is that the case? I do know that both systems can read data files, so using the media manager to create the smaller clips and getting it to those systems should work.

But that is where my knowledge stops. I am more used to the tapeless workflows that stay within FCP or Avid. You could explore doing this all within FCP/Color. Color is a very powerful color correction application, on par with DaVinci.

Shane

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[Charlie Carr]

I agree that tapeless lends itself to be online rather than offline. However the tried and true workflow of tape or film is what Ad Agencies are still following. They all want to edit then go to a DaVinci then finish in a Flame. It’s very true Color is great, but the editor sitting behind the color is not on par with the person sitting behind the davinci, if they were they wouldn’t be sitting in front of final cut. I’d say it’s very hard however to find one person that can do them all as well as individuals at each vendor. It’s a great opportunity for an editor to do all of it on lower budget jobs that could stay all within final cut or one system. But the truth is the only thing that might be changing in a commercial production is losing the film and shooting on disk.

I guess i haven’t tried the media manager tool, would be the solution, and the edl you deliver should be from the new sequence the media manager tool creates. If you don’t i guess the media manager tags a number to the same clip if it shows up numerous times with a chronological number. which then confuses flames and whatnot. so i guess most of this is answered.

[Mark Raudonis]

[Charlie Carr] “Color is great, but the editor sitting behind the color is not on par with the person sitting behind the davinci, if they were they wouldn’t be sitting in front of final cut.”

Mr Carr.

There’s plenty of people using “Color” to do high level grading on long form projects. The creativity and skill evidenced on those projects would put your average Cheetos spot to shame. To make such a sweeping generalization about the skill level of someone using Color is just myopic and uninformed.

Mark

[Shane Ross]

[Charlie Carr] “but the editor sitting behind the color is not on par with the person sitting behind the davinci, if they were they wouldn’t be sitting in front of final cut.”

There are people who ONLY use Color…they don’t use FINAL CUT. They used COLOR when it was FINAL TOUCH, and they used that application instead of a DaVinci or Flame. Don’t let the fact that Color is now part of the FCS package lead you to assume that it is ONLY used by final cut editors.

Shane

GETTING ORGANIZED WITH FINAL CUT PRO DVD…don’t miss it.
Read my blog, Little Frog in High Def

[David Roth weiss]

[Charlie Carr] “It’s very true Color is great, but the editor sitting behind the color is not on par with the person sitting behind the davinci”

And, to add to what the two previous posters said, there are actually many former DaVinci colorists who have moved away from DaVinci and now work exclusively in Color. It’s not because Color is more powerful, but because the Color workflow offers so many advantages to FCP users, who now represent a user base so large that it would be foolish for many DaVinci operators not to use Color.

So, the operator sitting behind Color might very well be on par with the person behind DaVinci, because they one in same.

David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los Angeles

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[Megumi Nishikura]

Hi Shane- I’m intersted in learning more about what you wrote here:

“Tapeless offers either a workflow that is online all the way from start to finish (never working with an offline codec), or the ability to log and capture in a low res codec and then Media Manage and reimport just the footage in the cut at full res (all within FCP)…or the ability to import at full res, media manage to a lower resolution, then reconnect to the full resolution, and then media manage the cut just like the fully online workflow. The entirety of all of these workflows occur within FCP.”

Can you direct me to some sites where I can learn more about how to do this?
I am about to start a new project with AVCHD footage on Final Cut 6.
Thank you.