48 hour film project workflow

R

randomname

Well-known member
I'll be shooting and grading a movie for a 48 hour film race next weekend, and right now the editor and I are trying to figure out what the best workflow will be for me to be grading and him to be editing simultaneously. We'll be using Final cut 7 and Color, time is obviously very critical. Thanks!
 
This wont be your normal color grade, obvioudly. You are working with very limited time so not only do you need an efficient version of your standard workflow, you need a totally different workflow.

I would import the footage for the editor first and let him get started. Import the footage (or copy to an external HDD) to a second computer. Start playing with source footage and shots likely to be used and grading them on your own.

Then get the project file and relink it to your media on your system once some editing has been done and start real grading. Keep updating the project file via network/usb drive as you go.
 
Having edited 48HFP competitions before, I'd not even go to Color. Render times will slow you down. I'd stay with FCP and the Color Corrector 3-Way filter only. It'll so what you need. All you're going to have time for is adjusting contrast, which is all most good footage needs, anyway. Only "correct" what is necessary. You simply won't have time for more. Drop me your email in a PM and I'll send you a PDF I've published about this.

What I'd do is maybe, as suggested, make two copies of the original footage for each machine. Thing is, the editor will finish a scene. You'll take a copy of his FCP project file, send that to Color, grade, render, send back to FCP, then export as a self-contained QT file. Repeat for each scene.

Problem is, when you're done with the full edit, you're going to have to trim time on each scene, as the first draft of edits in 48HFP are never short enough to fit the time. So, you'll need to do the re-conform process to Color, probably more than once.

When I edit, and most all teams I have had friends on, have only one editor who does it all, OR they only color grade when the full edit is completed. This means serious time management. If your film is not finished shooting by Saturday evening, you're screwed. Plan on editing all night long Saturday night without sleep, and Sunday. If noon Sunday hits, you need to wrap up ASAP, no matter what's not finished, for enough time to export. Send them a Self-Contained QT movie. don't bother authoring a DVD. That's how we always do it.

If possible, shoot all Friday night, Saturday, plan on shooting to be done by noon Saturday, if possible. Here, everyone plans on scripts that take place either indoors, or at night, so they can get it done Friday night.
 
I'll agree with Ben and say stay away from Color completely. You really don't need more than what's in Final Cut already.

I'd offer advice on workflow, but I was pretty much a 1 man band during the 2 times I participated. So my workflow wasn't ideal.
 
Another vote here with the others.

Simulatneous FCP edit + Color + 48 hr Fest = A World of Hurt

Unless you have a locked cut with many hours to spare on Sunday, stay away from Color. Use the Three Way or better, Colorista if possible. Take this from someone who missed the deadline by 30 min. last summer during a 48hr. competition. We used Color and it hurt us.

I love Color, just not for these fests. Use the right tool for the right job.

My .02
 
OK, I'll just say what everyone is thinking. NEVER have dual editors on a 48HFP! Bad idea! Over complicates things. Pushes you towards bad production values in such a short time. More than one editor is a horrible idea for 48HFP, period.
 
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