Windows Based Workflow Options (help)

[Jonathan Petts]

Hello Everyone!

I have what I think is quite a simple question but has confused me quite a bit.

I recently DP'ed a project, I provided Proxies for the director to edit on and now they are finished and ready to go up to 4K res copy for Web and Festivals as I have a PC that can handle high res stuff quite well.
So I'm going to go through what I think might be a correct method. We shot in 5K 2:1 by the way with a WS frame guide.

So I was going to open Premiere CC and start a 4K project with the 2.35 aspect(I forget the dimensions as Im away at the moment but when I get back have to start work on it), import the sequence from the Director then replace all the HD proxies with the 5K files, then scale these to frame size (and these should fit to the aspect ration and be correctly framed)? I then think I am going to move this sequence into Da Vinci which I have a small amount of experience in via and EDL. Then this is the part I don't know too much about the exported codec.

For Web I am thinking a H.246 200Mbps file in the 4K resolution.
A sound guy has asked for a uncompressed copy of the film, so I was thinking of sending over a DPX on a hard drive for him to do his sound. (I am not familiar with the festival way of doing things so would a DPX be good to keep as a master copy or should I use another one) So I am guessing he will be sending me back a DPX sequence ( I will take any suggestions) and then I can output other codecs from there.

My main issue is that obviously as Im PC that means no Pro Res for me and DNxHD does not support it currently.

I figured I might as well be honest and say Im a little confused and not screw my self over later so any help would be amazing! Is all of this wrong, or am I going right in certain areas?

Thanks

Jonny

 

[Marc Wielage]

Whoa, hire a post supervisor before you get much further. You could be in for a heap of trouble (as they say down south). This is a vastly different job from being a DP. Both require tons of experience and knowledge, and I think you'll wind up spending less money and encountering far less frustration if you work with somebody who really knows what they're doing in post.

I believe 4K is total overkill for an indie festival in 2014, but that's just my opinion. I would send out some letters and inquire to the various festivals as to what their precise specs are, and make sure you fulfill them to the letter. In many cases, I think normal 2048×858 for 2.39 will be fine, or they may prefer letterboxed based on the 16x9 frame. Chances are, they will not be able to play 4K at the festival. Get the specs in writing.

Given the bandwidth limitations most people have on the web, I would concentrate on getting a great HD copy finished now and then archive the 4K for the future. I think H.265 is still a little distant for most people; I don't even know a web streaming service using it yet (though it may well exist). But if the website can handle it, go for it. Do tests first.

For the sound mix, giving them a small 422 QuickTime file -- maybe even a 422 QT LT -- is much preferable. They generally do not want a "heavy load" taxing the machine during a re-recording mix on the stage. If you can't do a QuickTime under Windows, rent a Mac and do it on that. But before you do that, ask the sound people what format they prefer, and get it in writing.

Ah, in another thread elsewhere, I caught this:

http://www.reduser.net/forum/showth...es-amp-H265-for-Adobe-Premiere-CS5-5-6-and-CC

Cinemartin PLin Plug-In for Adobe Premiere