Dailies will be shipped once a week via DHL. I've done a couple of other features this way, and it works fine. I can easily stay parallel to the show this way.
In all the movies I've ever done the set mixer and camera departments were good about maintaining jammed sync, so I"m not overly concerned about that part of it. I just need to be sure that the TC metadata'd on all elements.
As far as EDLs and AAFs are concerned, the only thing that's important to me is that the clips all have their metadata for ease of final conform. So even after the AE does the transcode and sync, I've got to make sure that import into MC is clean and accurate. As I only cut the movie, and don't do the final conform, any failure in this regard is ultimately more the conform guy's headache than mine, but it certainly wouldn't make my life any easier.
In any case, I'm encouraging the AE to either use the free trial of MC and do the whole thing in Avid, or get Production to buy him a subscription. It's so cheap there's simply no defense of the Premiere/PluralEyes method. I've never worked with this guy before so my assumption is that he wants to do it this way because it's what he knows. I'm trying to convince how over-the-top easy it is to do it all in MC.
DD
On Jun 19, 2017, at 7:44 AM, Bouke bouke@editb.nl [Avid-L2] <Avid-L2@yahoogroups.com> wrote:David,
First, I don't know anything about ArriRAW, but what I do know:How on earth are you going to get the dailies? Pigeons with memory sticks?I don't know about the remote AE, but I do know that using PluralEyes for dual system sound sucks donkey balls.The sound guy WILL have TC on his recorder. There is no reason at all NOT to have external TC on the camera.(a stupid Tentacle sync will do the job, and is dirt cheap, but any decent sound guy will have everything that's needed.)Then, EDL? Why not AAF or alike?(And I would use something like Resolve to create dailies, since it's Raw, but perhaps Premiere will do the same job. I know that the Resolve route will create things that can be relinked from AVID proxies to originals to finish in Resolve.Others might have better advice, my main point is, do NOT trust someone who suggests using 'Alexa' and 'PluralEyes' in a workflow.On 16 Jun 2017, at 15:17, David Dodson davaldod@gmail.com [Avid-L2] <Avid-L2@yahoogroups.com> wrote:I'm starting a movie that will shoot in a distant land. I'll stay in LA and cut it here as they send dailies. They're shooting Alexa ArriRAW 2K. The remote AE tells me he'd like to use PluralEyes and PremierePro to do the transcode and sync.
I've never received anything via this workflow. What happens? Can this PluralEyes/Premiere path result in files transcoded to DNxHD115 MXFs? Can it carry multiple tracks of 24bit sound? Is this workflow likely to result in a bunch of files that are then imported into MC using an EDL that contains all the relevant metadata?
Anyone out there in the braintrust do it this way? Any insight would be mightily appreciated.
Many thanks.
DD
David Dodson
davaldod@gmail.com
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Posted by: David Dodson <davaldod@gmail.com>
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