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> I'm about to start a project in which 8 episodes of a TV show and a feature film will be shot simultaneously on Alexas. The territories for this whole monster project projects movies at 24fps while the broadcast world is PAL (25fps, of course). So here's my questions. Any wise counsel is appreciated:
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> - Considering that it will likely be impossible to get the production to pay attention to when they are shooting specific scenes for the movie, and then for the TV show, and to change frame rates where appropriate, what's the best frame rate for them to settle on? The follow-up question is, how would I handle this in the editing room?
David,
Either 24.00 or 25.00 will work. If the movie is indeed mainly for theatrical release, I'd tend to choose 24. International sales often requires a 24fps master. But something's gotta give. The downside of 24 is that you will need to take into account that the running time of your episodes will need to be counted at 25 (Avid lets you do that). Sound post will need to spend some time to correct from 24 to 25 for the episodes (OR, if they choose 25, they will need to spend some time to convert the film to 24fps for cinema release). If the theatrical/international distribution of the movie is secondary, I'd lean to 25, althouh I much prefer a speed-up to a slowdown on any movie I've ever done.
And whatever you do: involve sound post. They need to know.
> - Production seems determined to NOT shoot RAW, but to shoot ProRes instead. Assuming they will shoot at HD res, what is the best-quality flavor of ProRes that comes out of the Alexa?
Log-C ProRes 4x4 is what most people use. The DNxHD option is a paid option, AFAIK, and not every cam has it. Most folks in post will expect to receive ProRes from the Alexa.
> The follow-up question is: If I want nothing to do with AMA, what's the best way for me to handle this ProRes in Avid for offline cutting? Assume I want to cut in a proper DNxHD, Avid friendly MXF environment at 1080p and a good-quality resolution.
Forget AMA, forget about cutting native ProRes, forget about working straight from the originals.
Thing is: the Alexa stuff will be Log-C and that is not nice to cut with. So use a 3rd party application like AlexICC (cheap) or DaVince Resolve Lite (free), both of which can take your ProRes sources and transcode them to DNxHD MXF Avid MediaFiles with baked in 3D LUT (from Log-C to Rec709).
With a beefy machine, conversion can take place at between 17fps and 30fps, so it's pretty fast.
> - What's the best data and capacity calculator for me to use in order to figure up how much storage I need for all the original camera files, Avid media, and all appropriate back-ups?
Extremely depending on the amount of cameras used, takes shot, etc. Usually, editorial won't keep the ProRes files, but convert to DNxHD and work with that. Production backs up the ProRes files to at least two reliable master disks and sometimes LTO.
> - Is MC 6.x pretty much required for a non-AMA based workflow here?
Not at all. Use Resolve (or AlexICC), it will create plain vanilla DNxHD 36 Avid media for you.
> I am not, will not, and staunchly refuse to do this project on FCP, and nobody can make me. So I'm looking for a non-AMA workflow (I'm not scared of transcoding - or should I be?).
I have recently uploaded a whitepaper to Yahoo, that explains how to create Avid dailies using Resolve. You can use it for ProRes or ArriRAW or Red or DPX, anything. Pay attention to use the right 'Tape' entry (it's in the whitepaper) so that the correct filename will show up in Avid as Tapename. Then use File32 to create EDL's for picture post.
It's in the file section, under Avid Documentation:
http://f1.grp.yahoofs.com/v1/UOH2T23zpGyiY1hlj2n_eB7CwcL4wbHP8ZVMwycf1_13AoQE6X5fu0o5yyl-4rUbSqmMS61AlFdD323mZd6wZdpw6_e8xXU/Avid%20Documentation/Resolve%20-%20Creating%20Native%20MXF%20DailiesS.pdf
Done two productions this way. Pretty seemless.
Hope this helps.
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