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I would say for the most part I work the same way
Tone does as far as the "offline/online" workflow goes when it's all done in the
DS. The only difference that I make is if I've booked what could be an Xpress/MC
job into the DS for my own convenience, i.e. it's mostly cut and dissolve with
the occasional title and PIP effect and I'm not using DS specific tools and
skills. That, I'd bill at an offline "creative editorial" rate competitive with
MC/FCP shops. If the job requires color correction/windowing, higher end
effects and multi-layered composites, it's a DS job at a DS rate for me
-- regardless of the resolution.
Woody Sherman
Thoughtstream Media
----- Original Message -----
Sent: Wednesday, August 03, 2005 8:53
AM
Subject: Re: Worlflow question / was DS
Compression question
Hi Rick,
If I'm offlining a project with loads of rushes
as you describe, then I'd pull all that footage in at 10:1 or more usually
20:1 compressed. Once we're close to an online cut (minus effects) or at
least a final shot selection, then I'll recapture those clips uncompressed 10
bit. I don't mess with effects at all while the footage is compressed; I
wait until we have lovely pristine shots.
If I'm offlining a commercial
with only one 30 minute rushes tape, then I'll skip the compressed stage and
simply purge "Except for Current Sequence" when I'm done.
We charge our
DS out at full DS rate (or whatever cheaper rate the client has 'negotiated'
with us) and never have a separate offline rate if that offline is being done
on DS. If someone wants several days' cheap offline then we'd do that on
an Xpress Pro, but we'd still avoid as far as possible offering any effects
whilst at that offline stage. They always need to be re-done, even if only
slightly, with the uncompressed clips, and I'd rather charge "messin' about
with effects" at DS rate than offline rate ;-)
When you say "Most of my
clients enjoy knowing that they can try a bazillion options at a reduced
"creative off-line" rate", I'm not at all surprised; clients always like it
when they can get something at a better rate. Everyone's situation is
different, but for us we have a 'cheap-n-cheerful cut-rate we'll do it cheaper
than anyone else' house just down the road from us and we have no wish to
compete with them. That's why we specifically aim for the top-end of the
market. We're less busy that way, but the work we do is good, and we get
a good rate for it.
As a general rule of thumb, we mostly have three
scenarios:
1.
Offline done elsewhere, we do conforming/onlining/grading/effects/graphics.
Both shortform and
longform.
2.
Offline/online all done on DS - generally only for commercials or conference
inserts, ie
shortform
3.
Offline done on Xpress Pro, everything else on DS - generally
longform
Whichever of the above routes we take, final output will
always be from 10 bit uncompressed rushes.
Make
sense?
Regards,
Tone :)
At 13:13 03/08/2005, you
wrote:
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
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