[Mike Schrengohst]

At least with Encore you can make a basic “Blu-Ray” disc. I have successfully been
making 1080p HD content that I can burn on a regular DVD-R that will play
in PS3’s. I wish DVDSP could at least do this.

[Mike Schrengohst]

Try this:

https://dvfilm.com/raylight/mac/index.htm

[Mike Schrengohst]

look at this:

https://dvfilm.com/raylight/mac/index.htm

[Mike Schrengohst]

I have the 24″ iMac with 4 gigs. It does the job with FCS2 and I also have the full Adobe Suite and use AE with no problems. I have just completed some TV spots shot on RED and it also works great with the RED footage.

[Mike Schrengohst]

Danny,

Have you previewed what you shot so far? How much have you shot?

[Mike Schrengohst]

Yes, you could encode directly a file for DVD. However, think about other needs you might have.
You may be asked to provide an h.264 or flash file for a website. I usually (especially if the project is long) make a master file and then I can use that for multiple purposes. And that also gives you the ability to off-load the encoding work to another computer.

[Mike Schrengohst]

You got me there. I was just going from AE to FCP. For our purpose the 10 bit files were sufficient for mild CC. When starting in AE with RAW I would set-it up as 32 bit float. Of course any critical CC depends on your monitoring environment. Unless you have a “true monitor” you could never get the look you want to achieve to translate out. That is why I do a 90% correction and then rely on the post house for a CC pass. Now you could achieve a consistent look using the method outlined so that your time in post is less. It may take some testing and back and forth on your end to determine the best workflow. I would be interested to here what you come up with.

[Mike Schrengohst]

That is most of the time. I have a DVD player that will not letterbox. I have looked at every setting and I finally replaced the 32″ 4:3 with a 42″ 16:9 LCD anyway. I liked this DVD player because it had a 5.1 surround system. When I bought it most DVD’s were 4:3 and through the years most DVD’s are now 16:9 wihout a “full-screen” option. Every other DVD player I have will letterbox if shown on a 4:3 set.
Now I am working with clients that want Blu-Ray so here we go again.

[Mike Schrengohst]

Here is what I would do (And I did something similiar dealing with RED footage)
Take your RAW files into AE. Encode to the size of your project (1920×1080 for 1080p or
1280×720 for 720p) I assume the project is HD?
So, encode a QuickTime 10 bit Uncompressed file from your stills.
Take that file into FCP and put a time-code reader effect on it.
Make proxy files into the flavor you want to off-line with.
Then you can finesse the edits and see how it plays with your other footage.
Then when finished just replace your proxy footage with your 10bit uncompressed file.
Typically unless you have a RAID set-up 10 bit uncompressed will probably not playback in real time.
But from that timeline you can encode for DVD, h.264 or whatever. You could edit using a G-raid
external and save the project on that drive as well and take the project to a post-house for CC
and final delivery. We did this with some HD spots that needed to be layed off to HDCAM and it
worked great. The post house had an AVID Nitrus system,. We saved the project as OMF and
all the elements came in and we just tweaked the footage a bit.

Mike Schrengohst

[Mike Schrengohst]

In the corporate world the client is usually focused on the message and not the medium. The client looks to me for expertise. 99% of the corporate clients I work with don’t know the difference between 24p and 60i. I stopped shooting interlaced a few years ago. I don’t do TV shows and perhaps it is a different delivery. The user asked about corporate and that is what I know. I know for a fact in all of my accounts they do not view DVD’s on 4:3 sets any longer. I know for a fact that all the web files a create are either 24p or 30p. I do know for a fact that when we were still shooting with BetaSP (4:3 60i) I was de-interlacing the files that would be used on the web because users were watching on laptops or computer screens and did not like the interlaced artifacts. The only reason I might shoot 30p is if the client might be using footage for TV spots. For TV spots I now prefer shooting with the RED anyway.

Mike Schrengohst