[Joel Fisher]

And like I said, it may have something else on the actual QC report… I’m just trying to be proactive, and I’m also curious what that technicality means for future reference.

Thanks again!

[Joel Fisher]

Thanks everyone again for your input. Any thoughts on my last post regarding using Compressor? I don’t know if it was clear that I was asking a question… it may have looked like I was positing a solution. It was more of a question whether that would work, etc. 🙂

Any thoughts are appreciated. Thanks!

[Joel Fisher]

Thanks guys for all the input thus far. You said that the L&T will not do justice to the footage like RedCine, applying a one light. I do realize we’d be editing pretty flat images without doing this… but we really won’t have time to do initial image tweaks before we hit the ground running on the edit (there will be more time later for tweaking – and it doesn’t make sense to me to apply a general correction across the board to digital compressed footage. I’d prefer to save the detail for later, with more attention to perfection.) Do I lose something (other than a more aesthetic offline) by skipping minor tweaks up front, and saving adjustments for final online in Color with the ProRes files? Are certain elements of details lost in the transfer to the ProRes codec if I don’t do tweaks up front? I’ve been thinking of using Color for the final image forging on the locked cut (assuming Color works with ProRes).

Also, an idea just struck me. Some people have mentioned dropping proxies into Compressor and converting the footage to another format that way. What if (WHAT IF) I converted the footage via low or medium quality proxies into, say, DVCPROHD 24 720, through Compressor? Would this be faster than L&T to ProRes, and RedCine to ProRes? I could use this as an offline, and then once ready for the online, either manually or Crimsonly, or whatever, conform the cuts to ProRes 1080. That is, if the lower-res conversion would be faster up front. Basically we need speed and cutting up front, and then we have (hypothetically) as much time as we care to spend on the back-end.

[Joel Fisher]

Thanks for the thoughts on 24p… I had done so much work with 24pN on P2, my first instinct was 24p. Of course, I’ve also edited a lot of 23.98 HDCAM stuff lately, but my understanding of the DVD end of things was more limited.

Thoughts on any of the other questions, anybody?

Thanks again!

[Joel Fisher]

Oh, no, this thread is getting swallowed up in the highly active FCP forum!

[Joel Fisher]

Thanks, guys. I called the folks I worked with who had used the Dell display on that one shoot, and they confirmed what you said… they have moved on to the HPX, in addition to HD-SDI with an actual HD monitor; back then they were just transitioning into the whole P2/HD world.

The shoot I had used a computer display on was more documentary-style, and we only used the monitor for general preview on a few shots out of the hundreds. The upcoming pieces will be more critical, shot for shot (being narrative), and I’m thinking we’ll definitely fork out the dough and preview things properly.

Thanks a lot for your help!