Cost effective post set up for indie feature?

[PD1]

What would you all suggest would be the most effective post production set up for a computer system (Apple preferably, but will consider the other), maybe with a small but good projector for under 10K US to work with Red 4k footage? We will do a final master in 2K for a film out, but will keep the work flow in 4K for as long as possible through the process. This is for a feature project with no sfx nor 3D work and we wont have the cumbersome issue of many clients, so speed is not of the essence.

Thx.

 

[M Most]

What would you all suggest would be the most effective post production set up for a computer system (Apple preferably, but will consider the other), maybe with a small but good projector for under 10K US to work with Red 4k footage? We will do a final master in 2K for a film out, but will keep the work flow in 4K for as long as possible through the process. This is for a feature project with no sfx nor 3D work and we wont have the cumbersome issue of many clients, so speed is not of the essence.

Do you have experienced personnel to run this - i.e., a colorist, or perhaps someone with an understanding of color and colorspace issues? If you really want a do-it-yourself approach that yields a professional result, it's not the computer or the projector that's the critical factor. If you haven't already, it might be time to stop thinking tech and start thinking talent. You might find it's ultimately more cost effective to seek out someone who does this for a living than it is to try to equip yourself (particularly if this is not your particular area of expertise), and it will likely yield better results as well.

 

[PD1]

Do you have experienced personnel to run this - i.e., a colorist, or perhaps someone with an understanding of color and colorspace issues? If you really want a do-it-yourself approach that yields a professional result, it's not the computer or the projector that's the critical factor. If you haven't already, it might be time to stop thinking tech and start thinking talent. You might find it's ultimately more cost effective to seek out someone who does this for a living than it is to try to equip yourself (particularly if this is not your particular area of expertise), and it will likely yield better results as well.

I do appreciate the response. Problem is the project is based outside of anywhere that these skills have ever really been called into play. We will be working with persons from LA for production, but post has to be done here. I'd just like to get the best possible results locally and if and when necessary use the skills of someone who as you say does this for a living.

Ideally, I'm assuming, a pretty top notch system will be needed even for the post workflow. I'd just like to give my editor the best tools to do the best he can locally...on a budget.

 

[Steve Sherrick]

Not sure what you mean by keep it in 4K for most of the process. This is unnecessary for the most part. You will be better off offline editing with a manageable codec or the proxies. Getting the edit is important, not working in 4K. That comes later, and even then a lot of people are unable to finish in 4K due to expense. A lot of theatrical distribution is still 2K. I suggest nailing the edit, and then shopping it around to get finishing funds. Mike's advice is spot on. Unless you have a lot of experience with grading, LUTs, etc you're going to find it very difficult to do the finish. And the gear necessary is far more than you have in your budget.

This isn't to meant to deter you from trying. But it's difficult. There are some DIY methods that could work to a certain extent, but nothing will beat doing it the right way. But I understand that's not always practical ad you got to do what you got to do.

The first step though, make sure you have a good offline workflow.