Walter Biscardi
Forum Replies Created
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[Shane Ross] “The two records two different formast. DVCPro HD, and AVCIntra. FCP converted AVCIntra to ProRes, but didn’t do that with DVCPRO HD. It only brought that in as DVCPRO HD. You’d have to take another step to do that conversion.”
I guess in two years away from FCP I’ve forgotten the entire workflow. I did remember that we rarely worked with P2 in FCP 7, most of the DVCPro HD footage we received was from tape so we digitized it all in ProRes. That’s where my workflow came from. Sorry.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative MediaCraft and Career Advice & Training from real Working Creative Professionals
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[Shane Ross] “Sorry Walter, but you are wrong with a few details. They are shooting DVCPRO HD, keeping it DVCPRO HD. Not converting to ProRes, rewrapping to QT. no file size increase. They are pulling only what they need from the files, so they are saving space by not bringing in everything.
“Hmm, we’ve never done that in the past, missed that. We always converted P2 to ProRes so I just used our model as the reference.
Honestly we never use Prelude so I don’t know the answer to that other question. We’re using the Marker workflow here as we never get rid of anything on the off chance we might need it later.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative MediaCraft and Career Advice & Training from real Working Creative Professionals
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Because you will no longer have to transcode all that footage to ProRes before you start editing, it’s actually going to save you space to keep all the media vs. what you were doing before. In our case, a 1/2 hour show that used to take 1.2TB of media per half hour in FCP 7 now only takes about 300 – 450GB of space to back up in Premiere Pro.
We just started really using the Markers Window feature for logging. Working a project now where we turned around 3500 raw clips into a trailer in one week using a collaborative workflow with the client and the Markers.
Here’s what I would do.
Bring all the raw media into your PPro project.
Open the Markers Window.
Bring your clips into the Source Window and start laying in markers at the In Point of any good plays, highlights, etc… and label them in the Markers Window with details. Do this for all the clips.
When the editor brings the source clips into the Source window, they see all your notes and as they click on the Maker notes in the Marker window, the playhead jumps directly to that point in the video. SUPER easy and easier than making sub clips which is what we used to do for documentaries.
There’s actually a picture of me editing with the Markers Window open on the left screen in this article.
https://forums.creativecow.net/readpost/2/1053589
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative MediaCraft and Career Advice & Training from real Working Creative Professionals
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[Tom Strodel] “For those of you on the list who submit bids for commercials here in the US and Europe, how much detail do you provide in the pricing? Do you itemize every line item?”
As much or as little as the client requests. I used Showbiz Budgeting which makes it ridiculously simple to create both itemized and high level overview budgets.
At the very least we always break out our proposals in Pre, Production, Post.
Just depends on what the client wants. If they are a brand new client, ask them how detailed they’d like the budget to be.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative MediaCraft and Career Advice & Training from real Working Creative Professionals
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[Todd Terry] “Every once in a while (maybe once every year or two) we’ll get a brand-new client that needs an estimate broken down to pretty much every penny… and that’s always a nightmare that leads to micromanaging and haggling on every single thing….
     “Do we really need a makeup artist?”
     “I don’t think this will take that many meetings.”
     “Maybe instead of a professional actor we’ll just use my brother Bob.”
     “How could it possibly take two days to shoot a commercial? It’s thirty seconds.”You know the drill.”
When that happens, I usually will say something like “Ok, but if we do end up needing some of these things later or your brother makes the shoot run over, the rates will be double because they will no longer be part of the package but ala carte.”
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative MediaCraft and Career Advice & Training from real Working Creative Professionals
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That happened to us in the past when we tried to render a larger than 2GB file to the shared storage drives. It’s been fixed since CC came out though. But try rendering the file to an internal drive and see if it works.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative MediaCraft and Career Advice & Training from real Working Creative Professionals
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Sorry I can’t help you but all I can tell you is that CC is much better for us than CS6 was in terms of issues, corruption, etc…. for the most part it’s been rock solid on our 5 edit workstations at the office the my two at home.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative MediaCraft and Career Advice & Training from real Working Creative Professionals
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I use the FCP 7 keyboard shortcuts for all my NLEs. Makes it much easier.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative MediaCraft and Career Advice & Training from real Working Creative Professionals
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Did Resolve use the exact same media from the exact same media location?
If not, then you’ll have to manually reconnect your media.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative MediaCraft and Career Advice & Training from real Working Creative Professionals
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Set up an HD timeline to the specs you want to export in. We always start with the AVC-Intra presets because those are square pixel HD presets.
So if you want to end up with 1080p / 23.98 choose the 1080p/23.98 AVC-Intra as your Sequence preset. Change the Video Previews from MPEG i-Frame to Quicktime > ProRes to get a cleaner render.
When you’re completely done with the edit, export from Premiere Pro or Adobe Media Encoder to H264 23.98.
You can very easily mix and match SD / HD in the same timeline in PPro. Scaling is MUCH better than what you’re used to in FCP. You can also easily mix and match frame rates in the same timeline in PPro.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative MediaCraft and Career Advice & Training from real Working Creative Professionals