[Daryl K davis]

Hmmm. No Post Supervisor and no assistants, using 2 different labs and they want you to start from scratch, capturing all footage and completely re-editing on a whole different editing system. I would advise that you discuss the business matters of this project further with the producers before jumping in.

Good Luck

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DK Davis / Editor/ Post Super
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[Daryl K davis]

1. Steep learning curve buddy if you’ve never done this before. A few pointers just to get started; Make sure you get the telecine logs (flx, ale, or ftl files) for each DVCAM tape from the lab and use those to capture your footage as they’ll contain all pertinent lab roll, film edgecode, and soundroll data. Also engage in dialogue with the lab about what their specs are for their DI and what kinds of edl, cut lists, scene lists etc. that they want. Almost every lab is different in some regard as they use differenmt systems for DI and such. Yes, create a database and reverse telecine captured footage in Cinema Tools to 23.98 and edit in 23.98. Just a question: Is there a Post Supervisor on the movie?

2.As I mentioned, get the telecine logs from the lab. In the telecine process, they usually break up the indiviual slates and label each clip with appropriate scene and take identifiers. Also get the Editor’s Log Book and Marked script (documents created by the script supervisor) from the previous editor, as well as copies of camera and sound reports. Question: Do you have an assistant editor on the movie?

3.I generally just create my own 2.35 matte and only put it on when outputting screening DVDs for Producers and investors and the like. I usually like to see everything in the frame when I’m cutting but that’s my own personal taste I guess.

Good luck.

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DK Davis / Editor/ Post Super
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[Daryl K davis]

I use a Keyspan USB adapter for deck control

https://www.keyspan.com/products/usa28xg/

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DK Davis / Editor/ Post Super
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[Daryl K davis]

I concur with Walter. Same thing happened to me and all was well.

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DK Davis / Editor/ Post Super
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[Daryl K davis]

I have no ‘reality’ television experience – just documentaries, TV drama series, MOW’s and features. I once visited an old friend who was cutting on a well known reality/unscripted drama show. From what I saw it was kind of like “welcome to hell, your edit suite is over there.” Not my cup of mud… but good luck anyways.

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DK Davis / Editor/ Post Super
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[Daryl K davis]

Obviously he’s a troll and trying to fan some flames. There is no logic to his original question and he backed it up with very little detail in response.

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DK Davis / Editor/ Post Super
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[Daryl K davis]

What format will it be shot on and what is the final deliverable?

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DK Davis / Editor/ Post Super
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[Daryl K davis]

It’s akin to putting a steam engine in a Ferrari.

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DK Davis / Editor/ Post Super
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[Daryl K davis]

May be an interesting experiment for someone to try at home but can’t really see using this stuff with Feature, MOW or TV series. Legal ramifications constituted from completion bonds, production insurance and the like generally prohibits jerry-rigged gear. Imagine having a 100 crew people and dozens of cast standing around while someone tinkered with some loose wires all to save a few bucks. But for someone involved in other levels of production it may be fine, I don’t know.

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DK Davis / Editor/ Post Super
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[Daryl K davis]

Gentle people.

Again, thank you for your comments. Gary, I am very interested in your article and look forward to it coming out. Sean, thanks for directing me to the manual. Yes I had already downloaded and read it but it’s always a good suggestion to start with and will definitely help somebody out in their research.

I do want to mention something about Cinema Tools, which I do utilize extensively even with HDCAM 24p “video” projects. I use this database program for a variety of reasons. One is that I am able to provide audio post houses with a variety of audio edls and seperate audio logs and lists in addition to OMFs (for searching alt takes and such). I also like the reverse telecine automation Cinema Tools offers. I guess that being familiar with Cinema Tools since it’s inception (the first version of Filmlogic) provides a comfort zone for me on larger projects and it’s functionality goes well beyond the obvious keycode tracking and neg-cut list output.

I would also like to mention that not all shows I do provide sound on tape. Post-syncing is involved extensively on steadicam shots and multi-camera scenes. So although the RED camera is now able to capture audio, I still forsee the usual tasks of syncing and tracking audio. I should mention that you have never seen anyone as mad an an executive producer get their DVD dailies with no audio, ha.

None the less, the gist of my initial post was to see if there was anybody on this forum that was actively involved with the RED camera on a long-form project and if they had managed to work through some of the adventures the RED camera seems to be presenting.

I hope this discussion can continue in the coming months so Creative Cow FCP forum and its many many FCP users can effectively and positively contribute to the RED camera and the “new wave” of motion picture production.

Best to all,

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DK Davis / Editor/ Post Super
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