Confrom From Hell - Done

[Mark L. Pederson]

Okay -

We just conformed our first feature shot 100% on Red - Asylum Seekers.

- 95 minutes
- 1,111 events (cuts)
- 623 discreet Redcode clips
- 1,178 GB total Redcode used in edit

Now, this film was shot in 4K 2:1 last October with the ORIGINAL (non X) Elvis (#0006) & Mr. Bond (#0007) on no less than 6 camera builds - mostly ALPHA.

TONS of duplicate file names, EDGE CODE & TIME CODE - I mean all the makings of a real CONFORM FROM HELL.

Well, thanks to a few critical features in Scratch (ability to swap TC or Edge on a per shot basis) and our "under-development Red media management application" and - it was PAINLESS SUCCESS.

I am so impressed that this just worked.

 

[mikeburton]

Hey Mark,

Just out of curiosity, did you guys conform the entire edit in one complete conform or did you split up the project into sequences of say, 15-20 minute increments and correct/export from there?

Always interested to hear new post workflows!

Thanks!

 

[Mark L. Pederson]

Hey Mark,

Just out of curiosity, did you guys conform the entire edit in one complete conform or did you split up the project into sequences of say, 15-20 minute increments and correct/export from there?

Always interested to hear new post workflows!

Thanks!

Long form narrative (features) are always done in REELS under 20 minutes each - in the event a film out occurs.

The locked edit is split into reels in the NLE prior to conform.

Our application will manage the media from multiple timelines inside the XML of one FCP project. So we manage the media for the ENTIRE film - (all reels) first - then load the EDL for each reel into Scratch in separate constructs.

 

[Miguel "Macgregor" De Olaso]

Did you finish at 4K scope or 1.85? What was the file size of the whole film in dpx?

 

[Corrado Silveri]

wow, hats off Mark.
Can't wait to see the feature....

Do you need some Artworks for the Main Titles?
:biggrin:

 

[Mark L. Pederson]

Did you finish at 4K scope or 1.85? What was the file size of the whole film in dpx?

Grading starts next Monday. We expected problems so we allowed extra time to conform, which we did not end up needing. We conformed in less than a day.

Film was framed for 2:40 - shot in 4K 2:1.

We will grade in 2:40 - master to HDCAM SR 2:40 letterboxed, then we will Pan & Scan to full frame 16x9 and 4x3 versions.

 

[Mark L. Pederson]

Do you need some Artworks for the Main Titles?
:biggrin:

I'll call you on that offer for another project! Thanks! NAB?

 

[Corrado Silveri]

I'll call you on that offer for another project! Thanks! NAB?

Thanks!
You know I "need" to do something to help you... :construction:

NAB: I'm trying (Flights-Hotel are OK) I'm just waiting for some green light...
there are a lot of buzz around the Redone's also here in Italy.
I don't know - at this time - if I can travel oversea for a full week in April.

Hoping to hear from you soon.

 

[Paolo Tinari]

Still awake, hu?
I know, the buzz of the battery charger is noisy...

 

[Corrado Silveri]

E tu? (and you?)
Se ti dico che sto a fa'... (If only I can explain...)

 

[David Mullen ASC]

Film was framed for 2:40 - shot in 4K 2:1.

We will grade in 2:40 - master to HDCAM SR 2:40 letterboxed, then we will Pan & Scan to full frame 16x9 and 4x3 versions.

Wouldn't it be a little better to make the 16x9 and 4x3 1080P HD versions from a 2:1 master, either 2K or 4K, or even 2:1 letterboxed on HDCAM-SR, rather than from a 2.40 letterboxed 1080P image?

 

[M Most]

Wouldn't it be a little better to make the 16x9 and 4x3 1080P HD versions from a 2:1 master, either 2K or 4K, or even 2:1 letterboxed on HDCAM-SR, rather than from a 2.40 letterboxed 1080P image?

Exactly what I was going to suggest. Crop the 2:1 and blow up/panscan only what you must to lose extraneous items (mic booms, dolly track, etc.). I think you would find very little pan and scan to be necessary, unless they shot a lot of *very* wide compositions.

 

[RivaiC]

Darn impressive. Comforming in less than a day, it added the plus of Scratch and of course the capabilities of you, Offholywood !

Congrats :weight_lift:

 

[mezmo]

Wouldn't it be a little better to make the 16x9 and 4x3 1080P HD versions from a 2:1 master, either 2K or 4K, or even 2:1 letterboxed on HDCAM-SR, rather than from a 2.40 letterboxed 1080P image?

Just a thought but if it's framed 2.40:1 it may have mike down to
the top of frame, requiring Mark to Pan & Scan, .......naughty boys.
mezmo

 

[Mark L. Pederson]

Wouldn't it be a little better to make the 16x9 and 4x3 1080P HD versions from a 2:1 master, either 2K or 4K, or even 2:1 letterboxed on HDCAM-SR, rather than from a 2.40 letterboxed 1080P image?

16 x 9 and 4 x3 are both all made from the 4K RAW file.

I should not have said "master" - what I mean was that the 2:40 was the "hero" version.

We then just pan & scan in Scratch - always working from from the 4K RAW files -

 

[Mark L. Pederson]

Just a thought but if it's framed 2.40:1 it may have mike down to
the top of frame, requiring Mark to Pan & Scan, .......naughty boys.
mezmo

I always tell filmmakers to protect the entire image sensor whenever possible. No, we don't have any booms in the 4K 2:1.