[Nicole Elmer]

Thanks, Sareesh. I appreciate this! I did not know about the DNG image sequences, but I am downloading now and will see what I get on this old computer.

[Nicole Elmer]

Thanks to all of you for your expertise and input. I have much to learn from you all.

So…here is what I am thinking will work in regards to the old computer/workflow issue.

Yes, I would like to shoot in RAW, but as the computer upgrade is probably still another year away due to $$$$, would this scenario work?

1. Shoot RAW
2. Ingest using my old computer and a USB docking station and load the footage on a relatively large RAID drive for future use.
3. When I have a new computer that can handle Resolve and the RAW footage, create proxies (?? This and part four are where I’m not completely clear).
4. Edit, send EDL to Resolve for final grading.

Basically, I’d like to just have a way to store the RAW footage using my current old computer, and when I have a beefier system, return to this footage to make the one light pass, etc.

Thoughts? Will this work?

Thanks!

Nicole

[Nicole Elmer]

Thanks, Marco, for your input!

[Nicole Elmer]

Thanks for the input. We appreciate it.

[Nicole Elmer]

Thanks, everyone, for the input. It seems like I have lots of options and the best seems to be taking it to a facility that can do this, although the film will probably no longer be “micro-budget” at this point!

Buck: I tried your workflow suggestion and it worked on one clip that was about a minute and didn’t on a different clip. I did various short tests over the weekend and the audio issue is very inconsistent. Sometimes it is fine, other times it does things as strange as one track looping itself. Very very weird.

[Nicole Elmer]

Thanks! I’ll try this workflow as well. This is a micro-budget project, so I hope the facility option won’t cost us that much. We’ll cross that bridge when we get there.

[Nicole Elmer]

Hi Dave,

We shot on a Canon 7D. The DP used 29.97 fps and the FCP timeline was set to this frame rate. The footage has all been transcoded to Apple ProRes (LT).

I used Philip Bloom’s tutorial from 2009 about conforming 30 fps footage to 24 fps. https://vimeo.com/4920433

It seems to work but I still have the audio issue. I notice that FCP inserts some blank spaces between some of the audio clips on the timeline, but it seems rather random where it does this. Sometimes the audio fits, sometimes it doesn’t.

When copying the 29.97 audio timeline to the 24fps timeline, several frames are dropped in the process, and in longer passages, as much as a minute is gone.

Thanks for any insight into this!

Nicole

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[Nicole Elmer]

Anyhow, I thought I’d post results here in case someone else finds themselves in a similar situation.

This is what I did to get WHAT I THINK is going to work for getting 2:1 4k Red footage to 2.35:1. Or at least the “M” proxy files as close to the original intention of “Panavision 2.40” as possible.

After fooling around in FCP with cropping pixels which wasn’t actually something I could find (spent time in the Motion tab), I decided to mess around with Compressor.

I removed the 2.35:1 matte on the clips in FCP.

I exported using Compressor, the “Best Quality MPEG 2” 90 min.

In Compressor, there is an “inspector” tab. I went to the “Geometry” tab and located some presets here. There are two areas where one can pull down various options for output padding, etc. (I’m not in front of my editing station, so this is from memory.) I chose “panavision 2.35:1” for both areas where these pull-down menus exist.

I exported a brief clip and burned it to a DVD.

The weird slight vertical stretching that happens with 2:1 Red footage sent directly to Compressor with no other attributes assigned to it was gone. Yay!

My TV is old and doesn’t display DVDs properly, so I popped in the DVD at work to play it here on this Apple monitor. Doing a very “ghetto” style method here at work, I measured with the width and height dimensions, using the 16th of an inch as the unit of measure.

W: 69 units
H: 30 units

The math gave: 2.3

So…pretty close but not totally accurate. But I’ll say, much better than it was before.

[Nicole Elmer]

Hi Russell,

If we’re a few weeks away from pic lock, is there a way to replace the “M” QT proxy files we’ve already edited with with these ClipFinder generated ProRes proxy files?

Grr…lots to learn.

🙁

[Nicole Elmer]

Hi Aaron and everyone who has replied,

Thanks for all this info. I’ll give these things a try this evening and see what happens.

Thanks so much!