[Sean Kapleton]

Hey Matt,

thank you for the response I apologize for the late reply.

I am a little confused now about the process of archiving all of the footage to HDCAM and am hoping you can clarify this for me. So i got some more info on this request and in talking with my boss the thought he had was to just put everything on one timeline grouped in order of what camera it was shot with (i.e. all the RED, then all the p2, etc).

It turns out that the client wants all of this footage on HDCAM in order to ingest and edit with on an AVID system and then once they are ready they will send us back to finish – we are all FCP and have done this back and forth with them before but not on such a big scale with SO many formats. SO I want to make this process as smooth as possible

My boss suggested that I just put a one frame slate in front of each and every shot which says the shot name, format, in & out timecode & duration – he wa thinking to just put it all in one ProResHQ 1920×1080 29.97 timeline w/field dominance set to None BUT it seems you are suggesting laying off individual tapes according to what format they are NOT what everything will be conformed to in order to edit with.

Any thoughts?

Thank you in advance : )

Sean

[Sean Kapleton]

Hey Matt,

I have a quick question – the client also is requesting that we put all of this tapeless media onto HDCAM or HDCAM sr tapes as a backup for them – they will want the finished spot delivered on HDCAM, all of the tapeless media on drives which they sent, as well as all of this footage on HDCAM tapes?!

Any thoughts on what that will mean in terms of getting all of this media on tape as an archive for them?

cheers

sean

[Sean Kapleton]

[Sean Kapleton]

I too have the Intuos 6×11 and its THE best in my opinion for dual monitor editing, animation, matte painting, etc

One very helpful tip is to go into the mapping settings and decrease the area needed to go all the way up and down and left to right – especially when you have dual monitors – just shrink down the size of the rectangle.

The next tip i recommend is with the newest mac keyboards to just put it actually on the top part of the Wacom tablet and have the mapping flush right to the bottom of where the keyboard ends so you can still scroll to the top of your monitors – this way you can type more easily and still have the wacom easily accessible.

If you have an older mac keyboard just put it above the wacom in front of it so its still easily accessible. A lot of guys use this method of mapping the size down and putting then new MAC keyboard on top of the tablet itself.

cheers

Sean

[Sean Kapleton]

Sorry for the late response

the smallest file i have is something like 130 mb so i’m guessing that doesn to make sense?!

what about bringing it into avid and exporting uncompressed 10 bit qt’s?

i just tried it actually and i get error messages in avid – i’m thinking to post i nthat forum now too wit hthese screen grabs to see what Avid peeps think

any thoughts?

thanks
sean

[Sean Kapleton]

Hey Matt thank you so much for the detailed response – I need a sec to dissect it all but I know I do have a couple quick questions about this workflow : )

If there are any thoughts from others in this forum please let me know asap as I am about to get this started with an editor.

thank you for your time thus far everyone – really appreciate it!

Sean

[Sean Kapleton]

I have a feeling this is possibly incorrect advice…beyond that I am hoping to get much more detailed information on how exactly to handle all the formats of footage (i.e. not just let FCP scale it up but possible conform?)

In terms of laying off to HDCAM we were thinking to do a conform at the very end when its time to deliver in After Effects converting it to 1080i for HDCAM.

Anyways, hoping to get some in depth advice on this project and as advised i did not start a new post in the forum : )

thank you

Sean

[Sean Kapleton]

Hello Walter, Bouke & friends,

I have included a screen grab below which shows the format of all the footage we will be working with – the great majority of it is RED.

So we will be delivering an HDCAM tape (1080i) in the end and I am curious to get people’s thoughts / opinions on what to do in order to be able to edit with all these mixed formats. I do not have an editor to talk to about this but I obviously DO know how we need to deliver and I have performed massive batch renders on 4 new MacPro’s to conform all of the RED footage – so i know what I have to work with here.

I really appreciate all of your time and expertise and am very much looking forward to your responses : )

cheers

Sean

[Sean Kapleton]

thanks for the positive feedback guy…

[Sean Kapleton]

what about this:

https://www.apple.com/downloads/macosx/finalcutstudio/calibratedqmxfimport.html