Rocky iv fight scene Encode M2V for DVD

Rocky iv fight scene

Encode M2V for DVD. Which format do I need to encode to for the Blu-ray Master? More importantly, will the uncompressed MASTER I have above be good enough for a film-out? Will 1TB of HDD be enough for this whole operation? Does it have to be on RAID, since Im doing 720p? Im avoiding ProRes, Cineform or Sheer. I really like what theyre saying about Sheer though, but for the extra file sizes, do I really need it? Maybe Im missing something here. Do the file sizes go out the stratosphere when Im working with them in AE? Heres the laptop Im gonna be using rocky iv fight scene this whole operation: Please dont laugh. Where do you think Ill screw up? I hope to wind up this issue soon, as Ill be digitizing my footage in 2-3 days! Thanks a million for your considerate help. Ive really learnt a lot of new things the last few days. Regarding EDL, should I be noting down the Timecode manually for each cut when Ive done with it in FCP? Then Ill just mark the tapes which standard?. Then I hope for the best. Is this rocky iv fight scene best scenario, or is there a software than can make life easier? I will be working with the Editor here but Im not sure if she is good enough with this. Location: Auckland, New Zealand Hi Shareesh, your workflow seems pretty sensible, especially up to the point where you export the film to an uncompressed format. At that point TIFF, uncompressed QT or even DPX export this would require additional tools would all be possibilities best to ask the place doing the colour correction their advice first, each place will have their own preferred workflow. As for an EDL assuming that the HDV captures correctly and none of the tapes have timecode issues, and you label your Reels and takes etc in a sensible manner in Final Cuts Log and Capture window note ALWAYS save your project with a sensible title before you begin capturing, and use a strong naming convention for your shots and takes etc. then an EDL will be automatically be able to be generated by Final Cut. If when capturing your HDV, you dont capture through Final Cut e. g you were to use mpegstreamclip and just import the M2V files, or you had timecode issues and had to just crash record from the deck then the EDL would not match the timecode on the tapes and an automated EDL would not work. The advantage of manually logging your clips with pen and paper would be if you needed to rebuild the project say the hard drive with the footage on it crashed and Final Cut had timecode issues while capturing, or the place you are doing an online at wants to digitize off the masters but your EDL doesnt work, you would at least know where on each tape you would be able to find each clip and the process of reassembling the timeline would be much quicker. Given the bitrate of Uncompressed 25P 720 bitrate your final films uncompressed footage is likely to clock in somewhere around that 300GB amount, possibly more depending on your format TIFF, QT or DPX and bit depth 8bit or 10bit You shouldnt need RAID0 unless you want to be able to play back your uncompressed video in real time no need to do this, for inserting your effects into your offline version, just make a compressed proxy render as a temp to see how they are working out, and use the uncompressed at the online only. 1TB may be enough, too little or way more than enough depending on your FX/3D shots etc. As for final outputs I dont know Blu-ray specs, youll need to look them up. As for whether the final master will be good enough for film out no idea, but it is the BEST quality you can achieve without introducing uprezzing or other factors that can cause artifacts earlier in the pipeline so Id say its your best shot at having a decent transfer. Films have had film prints done from SD footage or 16mm or various HD flavors in the past yours will be higher res than SD, it still wont look like 35mm though you WILL be able to tell its been blown up but whether its good enough is totally subjective. Hi Shareesh, your workflow seems pretty sensible, especially up to the point where you export the film to an uncompressed format. At that point TIFF, uncompressed QT or even DPX export this would require additional tools would all be possibilities best to ask the place doing the colour correction their advice first, each place will have their own preferred workflow. As for an EDL assuming that the HDV captures correctly and none of the tapes have timecode issues, and you label your Reels and takes etc in a sensible manner in Final Cuts Log and Capture window note ALWAYS save your project with a sensible title before you begin capturing, and use a strong naming convention for your shots and takes etc. then an EDL will be automatically be able to be generated by Final Cut. If when capturing your HDV, you dont capture through Final Cut e. g you were to use mpegstreamclip and just import the M2V files, or you had timecode issues and had to just crash record from the deck then the EDL would not match the timecode on the tapes and an automated EDL would not work. The advantage of manually logging your clips with pen and paper would be if you needed to rebuild the project say the hard drive with the footage on it crashed and Final Cut had timecode issues while capturing, or the place you are rocky iv fight scene an online at wants to digitize off the masters but your EDL doesnt work, you would at least know where on each tape you would be able to find each clip and the process of reassembling the timeline would be much quicker.