Firtly, apologies for the lengthy post. Just explaining our setup and workflow in the hopes that some of you can help refine it. From locked offline to finish we're happy, but i'm wondering about our initial import and offline.
My company posts commercials and finishes everything PAL 16:9fh or 1080i.
We offline in Avid, grade in Nucoda and finish in Flame.
To date this is what we've been doing.
1. Client shoots 4K 2:1 framing for 16:9.
2. Camera generated 2:1 QT proxies (M) captured to avid via metacheater ALE at DV rez.
3. 2:1 proxies displayed as desired in the Avid. e.g streteched up to 16:9.
4. AAF to FCP, XML to Crimson, DPX from 4k .R3Ds to Nucoda, conformed graded playout to tape for Flame. Resizing to 16:9 is done before the playout whilst still working at a higher resolutuion than the playout.
5. Finished in Flame.
Nobody on here seems to use the camera proxies? Everyone seems to process DNX QTs and fast import those via ALE? Is this process overall slower than using the camera proxies?
Our import of the camera QTs takes 3xreal time, and our offline resolution is only DV PAL and the 2:1 thing isn't ideal, but we're prepared to work this way (as are our clients) if its the fastest way to begin the offline. Has anyone tried both these routes and compared the times. Our system works, but obviously we'd like to have 16:9 offlines and we wouldn't mind that they'd be nicer looking pictures!
On a side note - am i right in assuming that DnX36 uses 36mb/s bandwidth?
Just wondering if our LANshare could handle this if everyone jumped from 25mb/s.
Thanks for any help.
My company posts commercials and finishes everything PAL 16:9fh or 1080i.
We offline in Avid, grade in Nucoda and finish in Flame.
To date this is what we've been doing.
1. Client shoots 4K 2:1 framing for 16:9.
2. Camera generated 2:1 QT proxies (M) captured to avid via metacheater ALE at DV rez.
3. 2:1 proxies displayed as desired in the Avid. e.g streteched up to 16:9.
4. AAF to FCP, XML to Crimson, DPX from 4k .R3Ds to Nucoda, conformed graded playout to tape for Flame. Resizing to 16:9 is done before the playout whilst still working at a higher resolutuion than the playout.
5. Finished in Flame.
Nobody on here seems to use the camera proxies? Everyone seems to process DNX QTs and fast import those via ALE? Is this process overall slower than using the camera proxies?
Our import of the camera QTs takes 3xreal time, and our offline resolution is only DV PAL and the 2:1 thing isn't ideal, but we're prepared to work this way (as are our clients) if its the fastest way to begin the offline. Has anyone tried both these routes and compared the times. Our system works, but obviously we'd like to have 16:9 offlines and we wouldn't mind that they'd be nicer looking pictures!
On a side note - am i right in assuming that DnX36 uses 36mb/s bandwidth?
Just wondering if our LANshare could handle this if everyone jumped from 25mb/s.
Thanks for any help.