Worlflow question / was DS Compression question

[Dsderanged(at)aol.com]

In a message dated 8/2/2005 2:27:38 PM Eastern Daylight Time, tony(at)hdheaven.co.uk writes:

However, here at HD Heaven one of our selling points has always been that
"Unlike lesser outfits, we don't online at 8 bit compressed. We're
strictly 10 bit uncompressed, keeping your footage all pristine".

Hey Tone, I am just a tad curious about your above quote.  I understand that with

the cost storage so cheap these days, it might make sense to stay uncompressed for

both SD and HD work.  HOWEVER, many of my clients still incorporate a tried and true

workflow model whereby they have their initial film transfer done as "dailies" or "one-lights" and after final approved ruff cuts, we then transfer selects only.  Case in point, on a current SD project that I am cutting they shot almost 40,000 feet of film which equated to about 6 hours of raw footage. (24 fps and some over cranked stuff)  The one-lights weren't that great looking anyway, so I am working at 5:1 compression to save storage space as I am juggling a couple of other projects as well. 

 

Just curious, would you still work uncompressed 10bit during the above scenario?

 

Also, how do your deal with the concept of "off-line" and "on-line"? 

Do you simply have one rate for "on-line" or do you still do "off-line" and simply let

your clients enjoy pristine uncompressed.  

 

Most of my clients enjoy knowing that they can try a bazillion options at a reduced "creative off-line" rate and then only pay full boat when we are "on-line" which is where final color-correction, titling and fixes occur.

 

So general question to group:  ( sounds like many of you are conforming final shows and

projects from other off-line boxes so this may not apply to you )

 

For those doing "creative off-line" and "on-line" on the same DS, how do you handle this?

Is the concept of "off-line" becoming extinct?

 

Thanks, Rick at nakedeye