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Workflow Question
What if you have long (20min.) green screened files, cut and spread across a prores(proxy) timeline (90min), and you need to get just those pieces (subclips with 1 second handles) to your effects editor who will be dealing with the R10k RGB 10 bit (2K 4444?) original files. All while retaining proper clip lengths for our on-line reconnect.
The 2 files are separate. Compressed from the 10bit to ProRes(proxy).The filenames are the same. I had assumed that we would always retain clip length, and the entirety would be Keyed. Keep the file-name, keep the clip-length, all is well, right?
I thought perhaps the media manager would be able to export the clips somehow, from the uncompressed footage, and then I could proxy his return and reconnect into the timeline. Then we would have all of those files to reconnect to in the final on-line output (something like 80-100 pieces, as opposed to 5).
The solution to me is obvious, Key the entire clips and keep the reconnects.
Please if you have any ideas I’d love to hear them.
Thanks
-Rob -
2 Replies
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Also, sorry to double post here, I was thinking. Which is dangerous. Could I Media Manage all the selections to a new timeline, do a quick on-line reconnect and output to the same codec? Or do I not have the power to generate that same file-size/codec etc.? I don’t think I do, but I could be wrong. I’ve exported to many a codec, but R10k 10bit RGB has never been one of them.
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Having the VFX artist work on the entire 20 min clip only makes sense if all the greenscreen shots are getting the EXACT same treatment. Is that the case? But you also have to decide if that approach is going to be the most cost effective. If your effects person is working on a 20 minute clip for what is only going to be 3 minutes of screen time, that might be a waste of resources.
But if you elect to split up your master clip into individual shots, you could just duplicate your timeline, then delete all the footage that is NOT the greenscreen shot. Then change your sequence setting to the r10k codec and reconnect your clips to the original r10k file. Then you can media mange, with handles, using the “copy” mode (this preserves the format of the original media — so in fact, the sequence settings probably don’t even matter in this case).
Hope this helps,
Matt Lyon
Editor
Toronto
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