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POLL : What is your workflow?Posted by Jude Cotter
Been editing DVCPRO HD full res for 3 years and outputting to HDCAM with the Kona 3. Before that, all DV and always full resolution.
Recently I did work with an offline resolution, but that was so I could work on my laptop on the road. I still captured at full resolution and edited at full resoution on my main system. ![]() www.shanerosseditor.com Listen to THE EDIT BAY Podcast on iTunes [itunes.apple.com]
Uncompressed SD & DVCPRO HD full rez editing / compositing - outputting to DigiBeta via Kona LHe. Even when I was Avid Editing 5 years ago, I didn't use anything but full rez. I just prefer to see everything at the best possible quality all the time (and so does my clients).
When life gives you dilemmas...make dilemmanade. ![]()
Even though I voted for option #1 (off-line to on-line) the truth is I find that our workflow is changing. Because we post "Reality TV" with astronomical shooting ratios, Off-line RT is the only practical solution. One season of one show can generate almost three THOUSAND hours of media. And, we've usually got three to six shows going simultaneously.
Having said all that, I am making a concerted effort to eliminate off-line and go "Full Rez" all the time. Staying at FULL REZ is a tremendous timesaver. If you take away the storage cost issues and the bandwidth technical issues then the advantage of being full rez all the way through is the only way to go. Mark Raudonis
AAAAAaaaaaaaaaa-men, brother. I'm also editing in DVCPRO-HD full rez these days - laying off letterboxd downconverts to DigiBeta via Kona LHE. I won't be working in SD for much longer. My new employer is DVCPRO-HD / UNCOMPRESSED HD all the time ![]() When life gives you dilemmas...make dilemmanade. ![]()
I voted "Work at full resolution from capture to export in FCP."
I still commonly work in DV25 -> DV25, DV50 -> DV50, DVCPro 720 -> DVCPro 720, or SD 10-bit -> SD 10-bit. However, at least 35% of my work is DV25 -> SD 10-bit, DV25 -> 8-bit HD, or DVCPro 720 -> 10-bit HD. Never had to work with HDV thankfully. I still haven't worked with Pro Res but I'm looking forward to it. - Justin Barham -
For the last two years the series I'm on now has done an offline DV to uncompressed online workflow. This year we're doing ProRes from start to finish. We're starting a documentary that will still be offline to online, so we're kind of in the middle. Would like to stay at one resolution though.
I work mostly with file transfer. I clip in IMX D10 50megs with an EVS, wrap in QT and transfer to my box on our network (network isn't fast enough to edit over.) Edit and output to h264 QT 'cause I'm headed to the internet not the big screen (or the slightly smaller tv screen.) This puts me in the full rez from start to finish (near finish anyway, haha) camp.
We've been told by our EVS rep that they will soon support ProRes so we may switch to that. I am the only FCP station in our production house right now so there are no other workflows to speak of.
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