[Graham Withers]

Hey Shane – how are you handling off and online 5D/DSLR footage these days?

Using FCP, I’ve been creating prores proxy as well as HQ files in situations where I’m going use multiclips or multiple streams in my offline and then relinking to HQ for the colour correct.

This is fine for smaller shoots/projects but for larger docs and series with 2TB+ of media, creating both formats + keeping the original MOVs/BPAVs etc (never mind backing up and archiving it) is getting cumbersome.

Thoughts?

[Graham Withers]

hey Andreas – what format did you deliver the project in?

I’ve been in similar situations of late off-line editing feature docs and doc series for broadcast and the feedback I’m getting from my online houses is that if we’re delivering in 29.97 and there’s both 23.98 and 29.97 footage, it’s easier to “add” frames ie. take the 23.98 up to 29.97 than it is to take frames away…

Obviously, the weight of the different formats and style of shooting of each group of footage comes into play but I’ve also encountered issues with Smoke having trouble recapturing FCP’s funny auto-pulldown as well as having trouble with 29.97 footage I’ve fed through Compressor to make Prores 23.98.

I know there’s a bunch of questions here all bundled up but maybe some else out there has some insight…

[Graham Withers]

Willem,

Interesting workflow cutting in say prores proxy and then re-capturing the EDL from native into HQ. Have you done this before on longer format projects? I’ve been trying out different workflow for feature docs and this one definitely has some appeal – shorter encoding time/less chance of crashes using multi-core processing for HQ encoding being the biggest as hard drive space isn’t so much the issue anymore…

[Graham Withers]

I also get erratic behaviour from the ripple markers. I love this feature – awesome for producer/client screenings where I can make notes on the timeline, address them later, make my notes in the comment section and then output the markers as text for a “here’s how I addressed your notes master” document.

BUT!

Ripple markers have a mind of their own no doubt.

They respond consistently to insert and ripple in-out edits but no so much with extending clips, selecting clips and cutting them out with command-x, etc…

Does anyone have a good reference for “when markers ripple and when they don’t?”

All the guess work really detracts from using them in my workflow.

[Graham Withers]

Was it just me or was that segment not only pointless and utterly banal but also, ironically, poorly cut? Possibly on purpose (just to illustrate how hard we editors work at making those tough decisions between CU, MS and Wide….)!

[Graham Withers]

and 12 days later… the grey window returns. Weird.

[Graham Withers]

So after 1 day of a grey viewer window, the problem has resolved itself (for no apparent reason)…

[Graham Withers]

I’ll post if I figure it out…

[Graham Withers]

In a related situation – ever since I upgraded to Snow Leopard (using FCP 6.0.6) I’ve had periodic problems with the Viewer turning grey. I can playback clips on the external monitor and in “full screen” mode but the whole window; button, tabs, pulldown menus included are grey.

This happens no matter what kind of media I’m working with from DV to XDCAM.

Initially I had done a clean install of the system thinking it was a conflict between the OS and FCP 6 and that solved the problem for a while and now it’s back.

Any thoughts?