Misha Aranyshev
Forum Replies Created
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[Daniel Neutzsky-Wulff] “I know how to ingest the material from the Phantom camera using a plugin from Glue Tools and the Alexa will most likely be shot in uncompressed HD or ARRIRAW. So editing using proxy files and then on-lining is the way to go?”
There is a Glue Tools plugin for ARRIRAW too. Still it doesn’t make much sense to edit native in FCP even a short form. Make a “digital workprint” of all your footage: create QT movies of every take and edit them. Then match back to your Phantom and ARRIRAW “digital negative” in DaVinci. As long as QT files contain the correct TC and Reel metadata this will be very simple. With this approach you don’t have to worry about preserving dynamic range in FCP and let DaVinci handle it.
For a small project like this I would use FCP to create “digital workprint” files. Get Glue Tools Phantom and ARRI toolkits, import all footage into FCP, make look adjustments, apply burn-ins and batch export to ProResLT or whatever codec is your system is most comfortable handling. For huge amount of footage I would look for dedicated digital dailies app. Import QT files into FCP and edit your spot. When done export either EDL or XML for DaVinci.
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Break down your script into scenes. Put all the scenes that happen in the same location together. Write down a list of everybody and everything you need to shoot those scenes, talent, crew, equipment. Find out how much does it cost per day. Multiply by the number of days.
Figure out how long will it take to edit the footage you shot, to edit end mix sound, to create VFX and grade the film. Multiply by the daily rate of these services in your area.
That might give you the rough idea of production and postproduction budget. Pre-production will cost something too.
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I wonder what’s the economics of a “DSLR kid”. He comes, destroys the market, then what?
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[Mark Suszko] “Gospodin Michael, The Russians were such pioneers in editing that you can’t ignore them.”
That’s true. However the same material is retold in western book in a more organized manner cleared of hints that the opponent strayed away from the Party line. On the other hand for someone unaware of the context this superfluous stuff in the originals might be not so obvious and thus not so disturbing as it was to me.
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Grammar of the film language by Daniel Arijon
On Film Editing by Edward DmytrykI wouldn’t recommend Russian authors. They spend too many pages attacking each other instead of talking about film itself.
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Same thing with cameras vs lenses. Lenses still cost dearly.
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[Walter Soyka] “so maybe they will drop the cost of the diTTO as well. 4K for $4k?”
Too many precisely machined moving parts.
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Drag synced clips to the new bin in the browser and batch export.
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Good luck
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Conform 25 to 24 inside FCP, not in CinemaTools. You clips will carry 24@25 timecode and if you edit in the sequence with 24@25 timecode FCP will generate correct 25 fps EDL. This is actually a standard procedure for 24 fps film in PAL environment and was introduced to FCP after serious lobbying effort by a FCP group led by Will MacNeil.