Search results matching tag 'workflow'

Question going into online 720p Project delivered in SD

NOAHRIEKE — Tue, 27 Oct 2009 22:12:23 GMT

Hey,

This is one of my first questions to be presented here. I work for an up and coming production company that is currently offlining a hour long show for CMT. We shot our footage on Panasonic HMC-150 AVCHD. I had to use FCP to transcode the AVCHD files into a format my MAC run MC could recognize, and imported the QTs at DNxHD 75. The final product will be delivered in SD on a Digibeta. My questions are as follows.

1. What is the best way to down convert my 720p 29.97 FINAL sequence/footage to a 30i NTSC 4:3 letterbox for delivery?

2. Should I downconvert before my colorist comes in to correct or should he correct the HD footage, then we do the downconvert?

3. Are any of the DNxHD compressions considered safe to air or airable quality? (not essential for this project, but was curious just the same.)

Thanks for any input you guys can give me,

Noah

SDI workflow

Leo153 — Sat, 17 Oct 2009 04:30:47 GMT

I have a question about SDI, will this workflow work?

HDMI out of Canon HG S10 AVCHD camera into a HD-SDI converter HD Connect MI (info http://www.symbiosis.eu/hdconnect_mi)

SDI output from converter into MOJO SDI, SDI out from MoJo into SDI input on a Sony LVM 2020 monitor.

What I'm not clear about is how is the AVCHD captured into Avid- via Firewire from MoJo?

I know I'm giving up the file based video that could be imported into Avid, but since AVCHD isn't a native file yet to Avid and I have to convert files anyway it doesn't matter. The reason I like this flow (if it works) is the ability to convert to DNxHD in realtime (if I understood the Convergence website right).

Is anyone using a Connect MI box with Avid?

Thanks for your help with this!

leo

Workflow / File Structures

Pixel Monkey — Mon, 12 Oct 2009 17:23:57 GMT

After "equipment compatibilities", the hottest topic at Avid User's Groups is always comparing each other's workflows. What people discover is that all workflows differ, yet problems usually start from the same problem - how each editor handles file structures and clip or tape naming.

So for everyone's learning benefit here, please give a brief description of your workflow. I'll start.

Workflow: local :30 spot

1. Organize and name all media XYZ001 (3-letters for proj name, 3-numbers = tape #)

2. Media is ingested by an engineer or A.E. into Unity via AirSpeed into Projects/Production/Ingest

3. Create file structure in Access. (Server) / Projects / (spot name)

Folders in (Spot Name) are as such: Avid; Footage; Subclips; Producer; Trash. Interplay Folder in editor's settings is "Avid". Media is dragged from Ingest into "Footage" folder.

4. Editor creates local file structure to match that of interplay's; then cuts the spot

6. Delivery is via "Send to AirSpeed". Clip is named the same it will appear in the broadcast server. Engineers tech-check it as it is ingested into server. From there it is scheduled for air and also put through the Flip Factory for internet viewing.

Each workflow is different, largely due to equipment... but we'd like to hear what you are all doing. Thanks!

Re: XDCAM EX what resolution?

Sycophant — Fri, 09 Oct 2009 01:07:42 GMT

Close but not quite - Using the Avid AAF method from ClipBrowser you get two specific output for each clip - the first is a set of OP Atom MXF files that Avid can read natively, the second in an AAF file that contains no essence, only the metadata.

You need to set the OPAtom folder to be one of Avid's MediaFiles directories (eg. Avid MediaFiles/MXF/1) because that is where ClipBrowser will put the MXF media files, and Avid will scan and index them in that directory.

Then you need to save the AAF files somewhere, but not in that MXF directory - I'd choose to put them in a folder in the Documents directory, or on the Desktop, or something like that.

Once you import the AAF files, assuming the MXF files have been put in the right place and indexed, then they will link to that media. You will have a sequence and a clip for each EX clip, you can delete the sequences, they simply act as a holder for the clips.

However, it's very important to note that if you lose the media you have created (ie. the Avid Media is deleted) you cannot relink, even if you follow exactly the same procedure to convert the clips again.

I wrote a more detailed article about this on my website: XDCAM EX Workflow in Avid

Re: More P2 questions

sionp — Tue, 06 Oct 2009 20:40:38 GMT

They're shooting to an external P2 recorder (i believe) so i assumed that the footage would be .mxf using the avc intra codec, if not it sounds like they're gonna have a tough job cutting it!

So basically if in the cutting room they copy/transcode the footage into their adrenaline (at SD compression, assuming that the P2 cards not recording the ARRIRAW format) for the offline then I'm supplied a drive containing the original files and the final sequence bin, i can open the bin on the media composer (v3.5) that was supplied with DS10.1, relink to the raw media and transcode the consolidated sequence to .mxf 1:1 10bit onto the local storage of the DS, import the afe and the media should populate the timeline..

Let me know if this is right/wrong or if i've missed anything crucial, or if there is anything to be carefull with...

Thanks for the help so far..

Sony XDCAM workflows at Editors Lounge Sept. 25th

TCurren — Tue, 15 Sep 2009 18:21:26 GMT

ALPHADOGS INC. Presents,

Sony XDCAM II: The Sequel

Sony is Back and Showing off the Latest in XDCAM Workflows and More!

Our Sony XDCAM Event last year was a jam-packed evening, and the next Lounge
promises to be no different. Come see the latest updates to the XDCAM lineup and
hear from experts about improved workflows.

Sony's Mike Desroches will show off the new XDCAM PDW-F500 camera featuring 24p
1920x1080 4:2:2 and the companion PDW-F1600 deck. Discussion will include
current TV productions using XDCAM.

Editor Jess Bushyheadwill demonstrate the latest XDCAM workflows for the Avid.

There will also be an expert demo on Final Cut 7 XDCAM workflows, as well as
double-speed HDCAMSR captures via AJA Kona.

Gary Mandle from Sony will also stop by with the latest BVM-L231 and PVM-L2300
monitors for you to check out.

You definitely don't want to miss this Editors' Lounge!
As always, be sure to RSVP as soon as possible at
http://www.editorslounge.com/register.html

If you can't make it, please notify us right away so that we can give your spot
to someone else. Entry to the event is on a first-come, first-served basis, and
priority is given to those who RSVP. Please be prompt and don't forget to bring
a beverage of your choice — we'll provide the canapés!

Take some time to check out our past Editors' Lounges.
http://editorsloungearchive.blogspot.com/

When: September 25th, @ 6:30PM

Where: 1612 W. Olive Ave Suite 200, Burbank 91506 (Intersection of Olive and
Verdugo)
Parking is available under the building behind Olive Ave and street
parking is free after 6PM!

Please visit www.editorslounge.com for more details!
Brought to you by http://www.AlphaDogs.tv

"import P2" option not available in MC 3.5??

kdcnewyork — Thu, 10 Sep 2009 06:23:56 GMT

Folks-

So time has come for me to injest my first P2 project. If I can get it to work, I'll be importing P2 media directly from a hard drive.

The video tutorial on avid.com/p2 seems pretty simple, but when I try to invoke the 'import P2' command, the option is JUST NOT THERE.

Is there a simple workaround? Just for kicks, I booted an older system we have here at the studio: MC 2.8 running on an older PPC. The 'import P2' command is available in 2.8, but not on either of our systems running 3.5.

Please help- as I promised a client that I would deliver some DVD's of the raw footage, but I can't even get a single frame into the machine.

Sucks!

-K

Mixing P2 & XDCAM EX footage on same doc feature -- need advice!

IBL — Sun, 23 Aug 2009 17:35:37 GMT

Hello,

We are in production on a doc feature which is being shot over many months in different countries and by different crews.

So far we shot with the Sony EX-1 & EX-3 cameras and we're very happy with the results and the workflow. File format is XDCAM EX 35Mbits (1080p/23.976). Been able to mix with standard-def archival footage, edit, export cuts... so far so good. We even did a DI test at a lab and were happy with the look.

We are about to do another shoot and our DP has much more experience using the Panasonic P2 camera. I need advice on mixing the 2 formats in one timeline and how that would effect our workflow and finishing process. The P2 scenes will not have to intercut with the other scenes. They will be separate.

We are aiming for festival and theatrical release, so this documentary will end up on 35mm in the end.

Any thoughts would be greatly appreciated.

-----

Media Composer v3.5.6 + SD Mojo

Mac Pro 8-core

OSX 10.5.5

Symphony Nitris p2 workflow (NO DX upgrade)

Maureen — Mon, 03 Aug 2009 23:58:08 GMT

My facility currently has two Avid Symphony Nirtis's. We will be upgrading to media composer DX in the near future but haven't yet. A short project has been brought in that was shot on P2. My question is what is the appropriate workflow to work with this format on a Symphony Nitris? I believe it can be done if we transcode but my online editor and engineer are arguing whether it's possible to do it without the DX upgrade. Please help!

Thanks in advance!

Stereoscopic Workflow

Boomtown — Mon, 03 Aug 2009 09:27:15 GMT

Hi,

I'm trying to figure out what the best way to go about planning for a stereoscopic 3D project might be.

We are in the pre-production stage of a shoot for a six minute live action project and I am working on an Avid DS V10 with the 8400 workstation.

I am in the fortunate position to be able to influence all aspects of the shoot including what camera/workflow to use. But I have absolutely no experience in this format!

Does abybody here have some background in this area? Some support would be highly appreciated since I'd like to make this project go as smoothly and successfully as possible :)

One more detail - the final output will be on a 14X4meter screen - madness.