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Post Production in a Not So Brave New World With Dave Allen and Jeff Herzog Dave Allen, Online Editor and Colorist, Dave Allen Creative.

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Presentation on theme: "Post Production in a Not So Brave New World With Dave Allen and Jeff Herzog Dave Allen, Online Editor and Colorist, Dave Allen Creative."— Presentation transcript:

1 Post Production in a Not So Brave New World With Dave Allen and Jeff Herzog Dave Allen, Online Editor and Colorist, Dave Allen Creative. cell: Jeff Herzog, Post Supervisor and Consultant. With Dave Allen and Jeff Herzog Dave Allen, Online Editor and Colorist, Dave Allen Creative. cell: Jeff Herzog, Post Supervisor and Consultant.

2 Topics  Preproduction  Field Production  Which NLE?  Offline edit  Stock  Graphics  Moves on Stills  Mix  Deliverables to Online  Archive  Preproduction  Field Production  Which NLE?  Offline edit  Stock  Graphics  Moves on Stills  Mix  Deliverables to Online  Archive DA

3 JH Preproduction  It’s all about WORKFLOW Work from final deliverables backwards.  Involve all of your team early –DP, offline editor, animator, online editor (Dave), mix house  Simplify! Limit number of formats.  Do tests do tests do tests!  It’s all about WORKFLOW Work from final deliverables backwards.  Involve all of your team early –DP, offline editor, animator, online editor (Dave), mix house  Simplify! Limit number of formats.  Do tests do tests do tests!

4 Field Production– Tape vs Tapeless Tape vs Tapeless-- a complex decision –Pros of Tape:  Rock solid. We love tape and timecode! –Pros of Tapeless:  cost (and possibly time) effective –Cons of Tape  extreme environments, deck rentals. –Cons of Tapeless  ever changing software, learning curve. Data management in the field. Backups critical. –Sidebar: How Varicam works?? Tape vs Tapeless-- a complex decision –Pros of Tape:  Rock solid. We love tape and timecode! –Pros of Tapeless:  cost (and possibly time) effective –Cons of Tape  extreme environments, deck rentals. –Cons of Tapeless  ever changing software, learning curve. Data management in the field. Backups critical. –Sidebar: How Varicam works?? DA then demo

5 JH Field Production– Which Format to Shoot?  Format decisions –SD is dead (mostly) –1080i29.97 production is simplest in online –1080p24 is desirable because its the Universal Mastering Format, but can add workflow complexity –Consumer HD (i.e. HDV) is complicating matters, has big quality issues!  Format decisions –SD is dead (mostly) –1080i29.97 production is simplest in online –1080p24 is desirable because its the Universal Mastering Format, but can add workflow complexity –Consumer HD (i.e. HDV) is complicating matters, has big quality issues!

6 DA Avid vs Final Cut Pro  Each has different strengths –Cost –Ease of gfx integration –Established base of editors in Boston –Flexibility with new formats, cameras –Media management –Quicktime architecture  Automatic Duck  Each has different strengths –Cost –Ease of gfx integration –Established base of editors in Boston –Flexibility with new formats, cameras –Media management –Quicktime architecture  Automatic Duck

7 JH Offline Edit  Choose offline frame rate based on final online/deliverable  Clear consistent tape labeling, enter tape numbers consistently while digitizing for the offline  Clip source color coding can be helpful  Source types on separate tracks if possible  Work in 16x9 anamorphic timeline for offline if working in SD  Offline in HD is a viable option-- just bring media to online  Choose offline frame rate based on final online/deliverable  Clear consistent tape labeling, enter tape numbers consistently while digitizing for the offline  Clip source color coding can be helpful  Source types on separate tracks if possible  Work in 16x9 anamorphic timeline for offline if working in SD  Offline in HD is a viable option-- just bring media to online

8 DA Stock  Be aware that screeners never match tc with masters. So ideally, replace screeners with master shots  Downloaded files can be problematic-- check with online editor early.  If 24p online sequence, stock must be converted at professional post facility  Avid imports require entire quicktime to be imported  Be aware that screeners never match tc with masters. So ideally, replace screeners with master shots  Downloaded files can be problematic-- check with online editor early.  If 24p online sequence, stock must be converted at professional post facility  Avid imports require entire quicktime to be imported

9 jh Graphics  Lots of recipes, downside for getting it wrong is lots of time and $  Ask online editor before animators begin work  Again, do tests  Keep names the same between offline and online  Variables: –Resolution –Frame Rate –Field Dominance –Pixel aspect ratio –Codec –Delivery on drives if possible  Lots of recipes, downside for getting it wrong is lots of time and $  Ask online editor before animators begin work  Again, do tests  Keep names the same between offline and online  Variables: –Resolution –Frame Rate –Field Dominance –Pixel aspect ratio –Codec –Delivery on drives if possible

10 Moves on Stills  DPI= Dots per inch, a print concept. Irrelevant in video. So, if scanning images for use in video, begin math with the size of your final online frame. Ideally, don’t want to blow up any dimension more than 100% so scan big files!  Do in After Effects and place in timeline– moves in timeline slow the online to a crawl!  DPI= Dots per inch, a print concept. Irrelevant in video. So, if scanning images for use in video, begin math with the size of your final online frame. Ideally, don’t want to blow up any dimension more than 100% so scan big files!  Do in After Effects and place in timeline– moves in timeline slow the online to a crawl! Jh/da

11 da Mix  Big fans of 2 pops at the head and tail of your show. –Insert in picture lock before omf delivery –Ask mix house to include in final mix.  Final mix as.omf session (for Avid) or.aiff (for FCP)  Remember all required stems, double check tracks against deliverables.  Big fans of 2 pops at the head and tail of your show. –Insert in picture lock before omf delivery –Ask mix house to include in final mix.  Final mix as.omf session (for Avid) or.aiff (for FCP)  Remember all required stems, double check tracks against deliverables.

12 Da/jh Deliverables to Online  Picture lock reference on tape or quicktime –With bitc (burned in timecode), of at least show tc, ideally source tc as well.  Final texted sequences as FCP project file or Avid bin.  All tapes, gfx, mix, firewire drives with gfx/stock. Tapeless acquisition drives (with backup elsewhere).  Post supervisor is desirable. –Deliverables can be complex! Requires doublechecking.  Picture lock reference on tape or quicktime –With bitc (burned in timecode), of at least show tc, ideally source tc as well.  Final texted sequences as FCP project file or Avid bin.  All tapes, gfx, mix, firewire drives with gfx/stock. Tapeless acquisition drives (with backup elsewhere).  Post supervisor is desirable. –Deliverables can be complex! Requires doublechecking.

13 jh Archive  Drives are cheap! Its an age of repurposing. Desirable to archive entire final online and related assets onto hard drive.

14 More questions?  Dave Allen can be reached at: –  Jeff Herzog can be reached at: –  Dave Allen can be reached at: –  Jeff Herzog can be reached at: –


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