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Workflows
I am interested to hear from anyone who has had good experiences in the following
My client wishes to shoot on a high end HD tape format camera (probably HDWF900R ), then go through to telecine for grading in real time with his favourite colorist and then edit and post in Final Cut with me.
I would like to go straight from the telecine directly to a ProRes HD codec Quicktime to save in time on digitising.
What are you using in your workflow? What work best for you?
Thanks
Neil
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6 Replies
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[neil kueh] “My client wishes to shoot on a high end HD tape format camera (probably HDWF900R ), then go through to telecine for grading in real time with his favourite colorist and then edit and post in Final Cut with me.”
Telecine? HD footage? No, you telecine film…not tape. So you will send the footage to a colorist BEFORE you edit? OK, I know that when you shoot on film you do a ONE LIGHT transfer (or BEST LIGHT) to get the footage to tape, but that is usually handled by a telecine operator. And I am not sure how you are going to do this with TAPE.
[neil kueh] “I would like to go straight from the telecine directly to a ProRes HD codec Quicktime to save in time on digitising.”
Well, since you are shooting on TAPE, you WILL be digitizing… digitizing the tape to ProRes.
You and your client need to learn more about HD, because you are approaching it like FILM and that just isn’t how this works. You shoot on tape, capture that tape…edit, then output back to tape for a tape-to-tape color correction, or bring the media and project files for someone to color correct in COLOR…however the person you hire as the colorist works.
Shane
GETTING ORGANIZED WITH FINAL CUT PRO DVD…don’t miss it.
Read my blog, Little Frog in High Def -
If your colorist can deliver ProRes to your liking, then take it and just do an online edit, you’re done.
Have a wonderful day.
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In reading this more carefully, what you would be doing is a tape-to-tape transfer via the colorist, in which case you can certainly get a ProRes master provided you color house has that codec.
Have a wonderful day.
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What your client wants to do is called “tape to tape”. It’s often done in the same room by the same operator as the telecine- this depends on the shop that you use- you can also get it done in a place that doesn’t even have the telecine. A telecine is the machine that digitizes film to video, HD, 2k or even 4k for any post production use.
Your client is probably looking for a session in daVinci, Pogle, or similar suite. In the right hands, this is a wonderful thing. An experienced colorist on their favorite system can really work magic- but it will cost your client anywhere from $350-$700 per hour in the room. If your client already has worked with this specific colorist, it may be worth it to him.
It’s best to use a shop with a really good client services staff & nice lunch, because you’re paying enough that you might as well get yourself pampered in the process.
Arnie
Post production is not an afterthought!
https://www.arniepix.com/ -
>It’s best to use a shop with a really good client services staff & nice lunch, because you’re paying enough that you might as well get yourself pampered in the process.
Now that’s quality advice!
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Arnie
you’re paying enough that you might as well get yourself pampered in the process.
HAHAHA! I love it! Post house as Day Spa! why didnt I think of that! get your spots conformed AND get a mud bath!
(Actually, back in the day, at my first post house, 1″ and all that, our lunch chef, and he was a Culinary Institute Chef, had an Unlimited Budget, so that it was pretty much guaranteed we would get sessions booked thru lunch!
AHHHH the eighties!
“I like video because its so fast!”
Bob Flood
Greer & Associates, Inc.
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