[Mark Raudonis]

First of all…. have a written deal memo outlining the terms of the payment schedule.

THEN…. here’s a suggestion for people that are creating a complete project. It’s called “assignment of copyright”. You can insert language in your deal memo that essentially says, “I own it until you pay me. Once you pay me, you take ownership of the copyright”.

What does this mean? Even though most work is done as a “work for hire”, this language means that if they use it and don’t pay you, you can go after them for copyright infringement rather than just nonpayment. This is a much bigger battle for them to fight and I guarantee it will get you better results than to just ask them to pay up.

Unfortunately, in Shane’s case, this won’t help. That’s why you NEVER turn over final work without getting paid. Why is it that we creative types can move heaven and earth to get the work done, but someone in accounting can’t sign a check in a timely manner?

Mark

[Mark Raudonis]

[Andy Mees] “but Sony could easily allow third parties to enable such a workflow if they opened up their XDCAM Transfer software to allow import of logging lists, wish they would.
“

Let me just add that we use “Pilotware” (www.pilotware.com) for all of our logging and it can read and handle the XDCAM proxies just fine. So our “import” process is really a two step scenario where the proxies are sent to one place and the “full rez” go to our media folder on the X-SAN. This way, we really are taking advantage of the built in proxies for logging and story notes, but it’s a shame that we can’t edit with them on FCP.

Mark

[Mark Raudonis]

I’ve been using XDCAM, both SD and HD for quite some time now on several seasons of reality TV shows, and I too think it’s a great format. The only thing I can think of that holds any credence is that FCP does NOT handle the XDCAM low rez proxies. FCP can NOT edit with them, like Avid can.

Since FCP can not edit the automatically created proxies from the sony disc (Like AVID can), we had to digitize the material “real time” using an AJA box to create the off-line RT media. This is a shame, ’cause it really defeats the whole purpose of simultaneous proxies…. but it’s what we had to do. That was then. Now that we’re in HD, we’ve added a ton of storage and we just “throw it all in the bucket”. This has enabled us to bypass the “off-line to on-line” step and just stay all high rez, all the time. For this, we ALWAYS use FAM tranfers. It’s faster than realtime, and infinitely easier to manage compared to “realtime” transfers.

As for the “friendly codec”… FCP now handles the XDCAM native codec, and that’s how we edit.We may do the final color and GRFX pass at uncompressed, but not the off-line stage, so I don’t know what he’s talking about.

I really wish that FCP would figure out a way to handle the Sony proxies… that would make my life much easier.

Mark

[Mark Raudonis]

Here’s what you want:

https://www.virtualvtr.com/pictureready/index.html

It’s called “Picture Ready”, and it allows “live Capture”. If you’re planning on having “iso” feeds captured, just know that you will need a specific computer for each “camera”. If you’re planning on six cameras, that’s SIX computers running FCP.

It can be done, but I bet the price tag is going to be more than you’re willing to pay.

Mark

[Mark Raudonis]

Bob,

“this is exactly what all of my clients want.”

I smell a business opportunity! The “Z-100”. The “Zelin Approved”, client proof, four seat SAN. It retails for $999, is plug and play, and supports “Red” 4K throughput. It’s wireless. Infinitely expandable. Reliable. And, unfortunately, fictional.

mark

[Mark Raudonis]

Mark,

I think the conclusion is that there is no consensus, and each “flavor” has it’s advantages.

I’d ask just one question when deciding which way to go: Do you have to meet precise “duration” requirements (like for broadcast)? If so, use “Drop Frame”. Yes, that’s a slam dunk.

For anything else, it’s really your call, dependent on your workflow and the nature of your projects. Personally, I wouldn’t buy a piece of equipment that COULDN’T handle both.

Mark

[Mark Raudonis]

Dylan,

I feel your pain. It seems that we have entered into an era where no one is willing to lock ANYTHING until the last possible moment. Usually this is a result of overly ambitious schedules created by squeezed budgets. Doesn’t really matter why, the impact is the same… you’re breaking open previously locked sequences.

Here’s where you get schooled. As I recall from your initial posts, when you said your workflow was to start out in AVID and finish in FCP, people asked, “Why do you want to do that?” Of course it’s possible, and you’ve figured out how. But here’s the catch. Once you break that “platform” barrier, there’s no going back. You’ve left all of your off-line media behind, yet now you’re going to need it to make these “minor” changes. I can think of a few ways to accomplish “reaching back” for new material, but they all are painfully complex and create more problems than they solve.

While I’m sympathetic to your plight of not having a “firm lock” (we face it every week), I think you’ve created an even more difficult problem by agreeing to a cross platform finish.
I think most of the veteran hands on this list would agree that it simply is NOT A GOOD IDEA. Notice I didn’t say it couldn’t be done. I just think it’s an inefficient workflow.

So, either tell your producers to make up their mind and lock the darn thing, or face more pain and suffering than you rightly deserve. And… next time, don’t even consider this as a viable workflow. I think now you know why.

Mark

[Mark Raudonis]

Someone can correct me if I’m wrong, but to my knowledge, any EDL will only reference ONE VIDEO TRACK.

Most forms of EDLS can indicate a dissolve and some rudimentary FX, but since EDL’s are based on a linear tape workflow, they don’t reference “tracks” as much as Sources.

So, if you have a mulit track project that you must convert to an EDL, in my opinion, the best way is to create a separate EDL for EACH video track.

Do you absolutely, positively need an EDL? There are better ways to transport project info, like XML or Automatic Duck.

Mark

[Mark Raudonis]

You realize that the SONY DVW-M2000 is a standard def deck NOT capable of recording HD video?

Mark

[Mark Raudonis]

FHA means “Full Height Anamorphic”. You have to clarify if they want FHA or letterbox. Most European delivery requirements ask for “FHA”.

When you look at this stuff “Raw” a circle is an oval and everything looks tall and skinny.

FCP will automatically “resize” this for your desktop and for output to tape. Here’s where it gets tricky. GRFX. You have to make sure that your GRFX are brought in in the same anamorphic format as your media. If you aren’t careful, you’re going to be in for a world of hurt.

Finally, if you need to output to SD Digitbeta for viewing (not mastering), then you have to decide if you want to “letterbox” or center punch the image.

Aspect ratio conversion is a pain in the butt, and it will be with us for a long time as we transition from SD 4 X 3 to HD.

Mark