using a line cut

[Shane Ross]

READ about this? Gosh, do people do that? Not sure if it’s worth the time considering the market for that type of book would be like 10 people. This is stuff learned on the job.

That being said…

I hope he gives you MORE than the line cut. To do a proper edit, you need the line cut and all the ISOs (tape from each camera). You’d group those, and use the line cut as your main source. But if they don’t cut to a camera soon enough, or too soon, you switch to an ISO to cover what you want to cover. If there is a great reaction shot, or cutaway that isn’t in the LINE cut, but is in an ISO, you can cut to it.

If you ONLY have the Line cut, then you really will only be able to cut it down for time. Can’t cut to other angles if you don’t have them.

Shane
Little Frog Post
Read my blog, Little Frog in High Def

[Mark Suszko]

Shane is right as usual.

The director will have an opinion on where she or he felt they did well, and where they weren’t happy: ask them for that input first, and save yourself some time.

[Shane Ross]

I’ve worked on so many different types of shows. In this case, my experience comes from working on Judge Judy.

Shane
Little Frog Post
Read my blog, Little Frog in High Def

[Steven Austin]

I’ll have a line cut and 5 ISOs. I just learned that it’s being recorded to a Kia Pro recorder. Don’t know what codec that generates… (No tape.)
So, do I convert the line cut to Pro Res, bring that into the timeline and put it on top of the 5 multiclipped angles? What’s the process here? I’ll be own my own, with a little input from the producer. The director is just working on show night to call shots.

After I cut the show, add B-roll/graphics, I’ll need to have it mixed & color graded, QC’d & output to HD Cam. That’s all I know at this point.
Any pointers would be appreciated. Thanks.

[Shane Ross]

[Steven Austin] ” I just learned that it’s being recorded to a Kia Pro recorder. Don’t know what codec that generates… (No tape.)”

ProRes and DNxHD. Guessing they are recording ProRes since you are using FCP.

[Steven Austin] “So, do I convert the line cut to Pro Res”

No, it’s being recorded that way.

[Steven Austin] “bring that into the timeline and put it on top of the 5 multiclipped angles?”

Best to MULTICLIP them…so you can see them all at the same time, and cut to the angle you want. WARNING…5 streams of ProRes will require more than Firewire 800…might be much for eSATA. Thunderbolt connection might work, but Fibre, SAS connected drives will work. YOu need a fast RAID to play this back.

[Steven Austin] “What’s the process here?”

Find a common point, slate, clap…timecode (wouldn’t that be nice) and multiclip them. Read up on this in the manual if you don’t know the process.

[Steven Austin] “After I cut the show, add B-roll/graphics, I’ll need to have it mixed & color graded, QC’d & output to HD Cam.”

Will you be doing that? or will that be sent out to others?

Shane
Little Frog Post
Read my blog, Little Frog in High Def

[Spencer Averick]

Yes maybe put your multiclip on V2, and the line cut on V1. That way you can be cutting your multiclip and muting it on and off to check which angle the director selected. Or lower the opacity so you can constantly see it?

If your 4 streams of ProRes stutter on multiclip playback, maybe think about compressing them all to Proxy for an offline edit, then reconnect them after the edit.

Also a warning for you- if the situation arises that the linecut is perfect for stretches at a time and it doesn’t need to be recut at all, you still need to match cut it using the iso cams. In other words, don’t ever deliver any piece of the linecut in the end.

[Steven Austin]

I need to send it out but I am responsible for the final show delivery. Thx

[Mark Suszko]

Right now, your editing method is to brute-force the cuts by watching each transition in the master cut and copying that in the secondary timeline from the isos. Gets the job done, but is oh-so-tedious. There should be a way to automate some of that…

What would be handy in a situation like this is addressable metadata, recorded when the Line Cut was made, that would directly reference each of the isos, and be machine-readble by the NLE.

I’m trying to imagine how to do that with time code alone, and I can’t because optimally, the time code from each source would be identical. If the time codes have metadata like a GPS coordinate , user bits, or some other identifier, then you’d have a way to know on the electronic level, which iso was live in the line cut at any one moment, and you’d have a generated EDL to use as a template. Maybe if each iso used a spare audio track to carry an identifying tone, those tones could be mapped to a controller, like MIDI… I’m just thinking out loud here…

I don’t know that there’s a function in modern switchers to record an EDL of a live-switch, (my switcher is about 15 years old) but it seems to me this would be a handy function for speeding post work in many multicam projects like reality shows, and especially sports and drama.

[Steven Austin]

I plan on using:

CalDigit VR2 – Dual HDD Hardware RAID – eSATA, USB 3.0/2.0, FireWire 800 & 400 (4TB)

My tower is 1st gen quad core, FW800, 2.55ghz, 10,000 rpm raptor drive. No Thunderbolt or eSATA ports on my tower.

Is that enough horsepower to move these files around? Thanks

[Steven Austin]

Oh yeah, almost forgot — Pro res 422 or HQ? I’d much rather not have to conform a lower rez offline cut if possible. It seems like a real pain in the behind, I’ve never had to do it before. Always worked with PR422 straight up.