joeyramone1975
New member
Hello, all. I just wrapped principle photography of my first feature film (hooray!) which we shot with the HVX200 and the Letus35 Extreme. I am quite pleased with the images we were able to get in the relatively short time alotted.
I have some key questions in regards to the FCP workflow. I've spent the last six years cutting on Avid as my day job and, though I certainly feel more comfortable with it than FCP, I really want to use FCP on this film. One, because I want to become more familiar with the program (though I have already edited a few freelance gigs with it) and, two, for convenience (I'd rather cut late at night in my apartment than at work).
My problem is that I have no experience using FCP as anything other than a start-to-finish machine. I have never taken an offline edit from FCP and made the jump to Flame or Pro Tools or anything like that. The workflow issue is further complicated for me as this is the first project that I have ever edited that is all P2 and doesn't have any physical tape to refer back to.
I wanted to throw out my workflow scenario and see if anyone can help me out with the glaring deletions or problems:
1. The footage was all shot 1080p and exists on two g-raid 1 terabyte drives (and backed up twice).
2. Raylight? This allows you to import all the footage into FCP and not have to make a duplicate .mov file? It merely creates a link to the original .mxf file? (I read the literature on the dvfilm website and I still feel as ignorant about this software. My problem, not theirs...)
3. Edit the film. Do all sound design work in Soundtrack.
4. Output for color correct (to be done on a Spirit 2K). Colorist suggested everything as tiff sequences. Any caveats with this?
5. Output omf for audio mix and master in Pro Tools. Any know compatibility issues with omf files created in soundtrack?
6. Export edl for comform in Flame. I have no idea how the edl numbers work in relating back to the media. Again, I still think in terms of tape.
Obviously these are a few things that I should have had in place before the shoot, but as things turned out I had to get the film in the can quickly before my wife gave birth to our little girl. A real race against time... But I certainly think that I haven't yet limited myself in anyway, since I haven't started the edit.
Any help on this would be huge. Thanks in advance.
best,
Joseph
I have some key questions in regards to the FCP workflow. I've spent the last six years cutting on Avid as my day job and, though I certainly feel more comfortable with it than FCP, I really want to use FCP on this film. One, because I want to become more familiar with the program (though I have already edited a few freelance gigs with it) and, two, for convenience (I'd rather cut late at night in my apartment than at work).
My problem is that I have no experience using FCP as anything other than a start-to-finish machine. I have never taken an offline edit from FCP and made the jump to Flame or Pro Tools or anything like that. The workflow issue is further complicated for me as this is the first project that I have ever edited that is all P2 and doesn't have any physical tape to refer back to.
I wanted to throw out my workflow scenario and see if anyone can help me out with the glaring deletions or problems:
1. The footage was all shot 1080p and exists on two g-raid 1 terabyte drives (and backed up twice).
2. Raylight? This allows you to import all the footage into FCP and not have to make a duplicate .mov file? It merely creates a link to the original .mxf file? (I read the literature on the dvfilm website and I still feel as ignorant about this software. My problem, not theirs...)
3. Edit the film. Do all sound design work in Soundtrack.
4. Output for color correct (to be done on a Spirit 2K). Colorist suggested everything as tiff sequences. Any caveats with this?
5. Output omf for audio mix and master in Pro Tools. Any know compatibility issues with omf files created in soundtrack?
6. Export edl for comform in Flame. I have no idea how the edl numbers work in relating back to the media. Again, I still think in terms of tape.
Obviously these are a few things that I should have had in place before the shoot, but as things turned out I had to get the film in the can quickly before my wife gave birth to our little girl. A real race against time... But I certainly think that I haven't yet limited myself in anyway, since I haven't started the edit.
Any help on this would be huge. Thanks in advance.
best,
Joseph
But the bottom line is that yes with the right know-how FCP is very capable of completing a feature from P2 and in fact it's being used that way every day. It's not the simplest workflow but you can get the hang of it. All of your workflow sounds fine. The only part I'd be a little leery of is the EDL to Flame. You'd be better served simply by staying as an Image sequence output. Trying to get a flame to understand your EDL and properly reload all of that MXF footage will not be nearly as simple as just giving image sequences. And do you really intend to put the entire feature through Flame? There is no 'conform' what you edit in FCP will be as online as it ever gets.