RE: Worlflow question / was DS Compression question

["Tom Phillips" <tom(at)kineticpost.com>]

We do it much the same here Rick. Although they always want to fiddle even once we get to the “On-line” time, so I end up mixing compressed and uncompressed until all are happy. The good thing with that is, yeah we rocked that off-line out in 6 hours, but now instead of just 3 hours of on-line, we are looking at 8, and then a compositing rate for the effects and supers after all that. Sometimes, I love the agencies. Sometimes.

 

Tom

 

tom phillips

sr. editor, dir. of tech

kinetic post, inc.

248.893.0183 ph

248.893.0255 fx

 

-----Original Message-----
From: Dsderanged(at)aol.com [mailto:Dsderanged(at)aol.com]
Sent: Wednesday, August 03, 2005 8:13 AM
To: DS(at)Softimage.COM
Subject: Worlflow question / was DS Compression question

 

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