Hi, Jesse,
As you may be discovering, now in the digital era, you have to almost create a new workflow for every project you do. There used to be just one or two ways of doing things; now there's one or two hundred, conservatively. This new "freedom" brings with it the pleasure of having an exponential number of ways to screw things up. And then multiply that by the number of vendors and all the ways in which they can screw things up, and what you've got is a real fun time.
Your questions, in order…
Best Codec. You know, me and Steve Mirrione were literally the first two guys to use DNxHD 36. Avid had to give us a special console command in order to unlock it. I think Mirrione was not more than two weeks ahead of me. I tell you this to impress you. But really I tell you this so that I can also tell you that I happen to know first-hand that people are going to broadcast off of DNxHD 36. It's sad and pathetic, but it's a quality codec. Me, I cut all my features on either 115 or 175. I just like the way that producers can take 115 and 175 and use it in market presentations or screenings for the studio or whatever. You can put 115 and 175 on a big screen and they look dynamite. So if you're not storage challenged, go 115. Or more, baby!
Rec709 vs. LogC. How's the DP? Is this person the kind of shooter who nails it on set? Or is there going to be a ton of color work later? I've done a couple of films with a DP who absolutely knows how to shoot digital better than anyone. What comes off set is 95% the look of what gets conformed and into the theater. So if that's your guy, then there's nothing wrong with 709. But let's be honest, if you want to maintain maximum flexibility in post, shoot LogC. Just do it. You'll be glad you did. Everyone will be glad you did — as long as the show hires a quality colorist.
Resolution acquisition. If you're transcoding your dailies to DNxHD then one might assume that you're going to do a proper conform off the original camera files once picture is locked. That being the case, you should feel free to resize and repo to your heart's content in the offline, fully confident that you'll have the (slightly) added resolution later. Of course if they're shooting 2K, you're perilously close to 1080 anyway, so it's not as though they're shooting 5K or 6K giving you access to whole worlds of resizing euphoria. That said, as you probably know, well-shot digital can be blown up a lot more than you think while still maintaining acceptable resolution.
Bringing in the footage. Is your DIT doing the transcodes and sync? Or is the DIT just offloading the mags, doing check sums, backing up, etc.? Or since you've mentioned DNxHD, is the DIT also doing the transcode? Wait, I just said that. In other words, who's doing what? What's the division of labor? If the DIT is doing the transcode you simply tell him/her what resolution you'd like (DNxHD 115, eg.) and how you might like the bins organized. You'l then get a drive with the Avid media and an Avid project file or bin, which you'll probably want to copy over to your own server/drives, and hold on to the transfer drive as a back-up (or make another back-up).
Bottom line, back up. Once you've done an unhealthy number of back-ups, back it all up again. The original camera files. The Avid media. The project. Do it. Over and over. More than once a day. In fact, don't do any cutting at all. Just do nothing but back-ups. Really. It's just better that way.
Good luck!
On Aug 15, 2016, at 12:31 PM, jesseg132001@yahoo.com [Avid-L2] <Avid-L2@yahoogroups.com> wrote:Hello folks!
I'm about to start editing an Indie feature, need to formulate a plan for post.
I thought this might be a good place to ask for some thoughts/insight. Your help is GREATLY appreciated.
- Shooting on ARRI: ProRes 2K at rec 709
- Editing with Avid 8.x
- DIT on-set to backup and transcode footage.
- Post responsible for upload of dailies
- Post needs to prep movie for projected screenings as the edit progresses
Here are some of the questions I have. Again, I appreciate any advice.
- Which codec is best for editorial? - DNX36?
- If we do use DNX36 will it look ok for projected screenings?
- How hard should I argue for them to shoot LogC as opposed to rec 709?
- Given 2K acquisition, what is the best way to access the resolution in the case of blowing up/re-positioning shots?- What is the best process to bring in the footage/what should I ask the DIT for?Again I appreciate any thoughts you might have. I normally work on tv series with a robust post department that works this all out, so its a bit of a first for me.THANKS!Jesse
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Posted by: David Dodson <davaldod@gmail.com>
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