[Sean Kapleton]

Hey Aaron
yes of course i see image in both QT and FCP and when i bring into a FCP sequence and render at pro Res hq it looks like it can indeed be layed off to tape.

again this is after a media manager job so its the only remaining footage from the project – others erased the media not me – and now i have to make the most of it – apparently the editor was cutting with the H proxy files and then the project was media managed so those are the only files that remain.

[Sean Kapleton]

Hey Mark,

I totally hear what you are saying and agree but the bottom line is that this is what the client wants – they need to see it whether picture is locked…so moving forward did you have any advice or input on the workflow and / or my ideas?

Does anyone else have feedback or thoughts about my post?

sean

[Sean Kapleton]

I just emailed and hoping for a call because i get this error message :

“No license installed to upgrade”

[Sean Kapleton]

I just emailed and hoping for a call because i get this error message :

“No license installed to upgrade”

[Sean Kapleton]

thanks for the response

yeah we wanted to do the option you recommend but for whatever reason they want the media itself not on tap as 29.97 : (

[Sean Kapleton]

thanks gary…

[Sean Kapleton]

fair enough thank you for getting back to me i appreciate it : )

cheers

sean

[Sean Kapleton]

Shane are you there?

[Sean Kapleton]

Hey Matt or anyone who might know the answer to this,

hoping you will get this post : )

So it seems the consensus from the client is that they would rather have all the footage in one format (1080i HDCAMsr) ans I wanted to ask you about what you suggest and what to be aware of for this type of procedure.

I plan to put a 1 frame slate in front of each clip and group them all by what camera they were shot with / format which should mean 5-6 60min HDCAMsr tapes.

Also I am curious about a previous post you had where you suggest to actually work in “a ProResHQ 1920×1080 29.97 timeline w/field dominance set to None. This will output to your HDCAM tape nicely” So I am just curious whether this meant that when it was time to actually output to HDCAMsr I was to set something differently in either sequence settings or output settings in order for it to be 1080i?!

thoughts?

thank you for your help?!

Sean

[Sean Kapleton]

Shane I love this response?! LOL – You rock!!

You hit the nail on the head about old school AVID guys – its a major company too so they can pay and obviously we can bill : )

The producer wanted me to give a guestimate on how long it would take to do this and I honestly told her that I had no idea but that there was about 6 hours of footage all together! Any ideas on how long this might take the average worker bee junior editor (i.e. me) and what 1type of billing would be in order for a request like this?! I am having to deal with most of this on my own and I appreciate the responsibility given to me but definitely want to be sure not to mess anything up.

I just have a few questions if you or anyone else on this forum doesn’t mind before I start to hammer away at this I want to make sure I do it properly.

1) I had been advised on a previous post (by Matt Devino) to actually work in “a ProResHQ 1920×1080 29.97 timeline w/field dominance set to None. This will output to your HDCAM tape nicely” So I am just curious whether this meant that when it was time to actually output to HDCAMsr I was to set something differently in either sequence settings or output settings in order for it to be 1080i?!

2) If I have roughly 6 hours worth of footage all together (the majority being RED 23.98 Progressive 1920×1080 footage) how should I split it up – should it be split amongst x6 60 min HDCAMsr tapes?

If there any other suggestions on workflow, if you would change something about how I plan to go about slating each clip for example, or anything please feel free to chime in people / Shane. Again thank you for taking the time to read and respond to my post : )

cheers

Sean