David Parke
11
COW Coins
Forum Replies Created
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I hear ya. Sorry there’s no easier fix — that I found, anyway.
David Parke
Assistant Editor
http://www.dparke.com -
You will reference the original cut shot by shot and pay in the original footage — NOT the reference media. And you have to do this shot by shot. Best practices is to do it on V2 so you can compare the shots easily.
David Parke
Assistant Editor
http://www.dparke.com -
I overcut everything in the end and have COMPLETELY changed my workflow since. I never use Pluraleyes — good for long single takes and not narrative workflows IMO. I am much faster syncing with markers and in-points.
That said, find yourself another hard drive, transcode everything to the codec you want to finish in, and overcut. Use clip names and a calculator to find exact in-points. In some places, I had to take the V2 to 50% opacity to be sure things were timed correctly. Hope this helps and NEVER do this again. Great on paper, terrible in execution.
Best of luck. Let me know how it goes!
David Parke
Assistant Editor
http://www.dparke.com -
Shane:
First, thanks for the response. Sorry i was unclear. I have the original h.264s but the folder structured from the original CF cards were not intact so i will have to do a manual re-compression in compressor to ProRes 422 instead of the ProRes (Proxy) files i was given in his 80% edited sequence / project.
My question was after finishing the cut with the workflow i was given, i now have a sequence with reference qt files made from the h4n files for audio (lav, boom, etc) and the transcoded prores proxy files. Is the best workflow at the point to prep for color to transcode ALL of the h264 masters and recut shot by shot or is there a piece i am missing? The reference qt files are where i feel incepted and i have no choice but to lay-over the newly transcoded footage and audio.
Hope that starts to shed some light. Thanks for the response, Shane.
David Parke
Assistant Editor
http://www.dparke.com -
That’s what I figured. Nothing ever has the solutions you want it to — although it’s a very round-about thing I was trying to do. I appreciate your help!
David Parke
Assistant Editor
http://www.lastoffthebus.com/david_reel -
I am having this exact issue with a green screen edit TODAY. The product has a blue and green label so the producer chose the lesser of the two evils and we are now posting. As this is my first time keying out green, would you mind elaborating on how you pulled this off? I kinda had the idea of multiple layers but if you’ve figured it out (and I’m in a bit of a time crunch) any help would be better than trial and error. Anyway, I’d appreciate it.
Thanks!
David Parke
Assistant Editor
http://www.lastoffthebus.com/david_reel