Men in black 3 As for an EDL

Men in black 3

As for an EDL assuming that the HDV captures correctly and none of the tapes have timecode issues, and you label your Reels and takes etc in a sensible manner in Final Cuts Log and Capture window note ALWAYS save your project with a sensible title before you begin capturing, and use a strong naming convention for your shots and takes etc. then an EDL will be automatically be able to be generated by Final Cut. If when capturing your HDV, you dont capture through Final Cut e. g you were to use mpegstreamclip and just import the M2V files, or you had timecode issues and had to just crash record from the deck then the EDL would not match the timecode on the tapes and an automated EDL would not work. The advantage of manually logging your clips with pen and paper would be if you needed to rebuild the project say the hard drive with the footage on it crashed and Final Cut had timecode issues while capturing, or the place you are doing an online at wants to digitize off the masters but your EDL doesnt work, you would at least know where on each tape you would be able to find each clip and the process of reassembling the timeline would be much quicker. Given the bitrate of Uncompressed 25P 720 bitrate your final films uncompressed footage is likely to clock in somewhere around that 300GB amount, possibly more depending on your format TIFF, QT or DPX and bit depth 8bit or 10bit You shouldnt need RAID0 unless you want to be able to play back your uncompressed video in real time no need to do this, for inserting your effects into your offline version, just make a compressed proxy render as a temp to see how they are working out, and use the uncompressed at the online only. 1TB may be enough, too little or way more than enough depending on your FX/3D shots etc. As for final outputs I dont know Blu-ray specs, youll need to look them up. As for whether the final master will be good enough for film out no idea, but it is the BEST quality you can achieve without introducing uprezzing or other factors that can cause artifacts earlier in the pipeline so Id say its your best shot at having a decent transfer. Films have had film prints done from SD footage or 16mm or various HD flavors in the past yours will be higher res than SD, it still wont look like 35mm though you WILL be able to tell its been blown up but whether its good enough is totally subjective. Hi Shareesh, your workflow seems pretty sensible, especially up to the point where you export the film to an uncompressed format. At that point TIFF, uncompressed QT or even DPX export this would require additional tools would all be possibilities best to ask the place doing the colour correction their advice first, each place will have their own preferred workflow. As for an EDL assuming that the HDV captures correctly and none of the tapes have timecode issues, and you label your Reels and takes etc in a sensible manner in Final Cuts Log and Capture window note ALWAYS save your project with a sensible title before you begin capturing, and use a strong naming convention for your shots and takes etc. then an EDL will be automatically be able to be generated by Final Cut. If when capturing your HDV, you dont capture through Final Cut e. g you were to use mpegstreamclip and just import the M2V files, or you had timecode issues and had to just crash record from the deck then the EDL would not match the timecode on the tapes and an automated EDL would not work. The advantage of manually logging your clips with pen and paper would be if you needed to rebuild the project say the hard drive with the footage on it crashed and Final Cut had timecode issues while capturing, or the place you are doing an online at wants to digitize off the masters but your EDL doesnt work, you would at least know where on each tape you would be able to find each clip and the process of reassembling the timeline would be much quicker. Given the bitrate of Uncompressed 25P 720 bitrate your final films uncompressed footage is likely to clock in somewhere around that 300GB amount, possibly more depending on your format TIFF, QT or DPX and bit depth 8bit or 10bit You shouldnt need RAID0 unless you want to be able to play back your uncompressed video in real time no need to do this, for inserting your effects into your offline version, just make a compressed proxy render as a temp to see how they are working out, and use the uncompressed at the online only. 1TB may be enough, too little or way more than enough depending on your FX/3D shots etc. As for final outputs I dont know Blu-ray specs, youll need to look them up. As for whether the final master will be good enough for film out no idea, but it is the BEST quality you can achieve without introducing uprezzing or other factors that can cause artifacts earlier in the pipeline so Id say its your best shot at having a decent transfer. Films have had film prints done from SD footage or 16mm or various HD flavors in the past yours will be higher res than SD, it still wont look like 35mm though you WILL be able to tell its been blown up but whether its good enough is totally subjective. Thank you for the great news! Ill most likely be capturing in FCP, Avid or in Premiere Pro all of which takes in timecode as. I hope I dont have any timecode issues. Ill try my best to follow your advice, and its really music to my ears that FCP can generate an automatic EDL! However, Ill also manually log my clips during edit just to be on the safe side. Right now, I have about 640GB of HDD, split in one internal and one external disk. I can manage the basic work with this, I guess. I always have the option of buying a 1TB WD or Seagate HDD with eSATA. Anyway, I dont think Ill have much problems there. I guess the only way to know for certain is to actually do it. Thanks for confirming my workflow. This is exactly what Im going to do then, and hope for the best. I am aware that HDV is not 35mm, but its a decision I took a year ago to stick with HDV and Im pretty happy with the results so far, and film-out isnt in my business model yet, its just an option. Ive heard it holds up good At least as good as 16mm, so lets see if I ever get that lucky. Once again let me thank you for your time and help. I truly appreciate it. Ill let you know how it all went once its done. Thanks! Hi Shareesh, your workflow seems pretty sensible, especially up to the point where you export the film to an uncompressed format. At that point TIFF, uncompressed QT or even DPX export this would require additional tools would all be possibilities best to ask the place doing the colour correction their advice first, each place will have their own preferred workflow. As for an EDL assuming that the HDV captures correctly and none of the tapes have timecode issues, and you label your Reels and takes etc in a sensible manner in Final Cuts Log and Capture window note ALWAYS save your project with a sensible title before you begin capturing, and use a strong naming convention for your shots and takes etc. then an EDL will be automatically be able to be generated by Final Cut. If when capturing your HDV, you dont capture through Final Cut e. g you were to use mpegstreamclip and just import the M2V files, or you had timecode issues and had to just crash record from the deck then the EDL would not match the timecode on the tapes and an automated EDL would not work.