Re: Workflow - deliverables
- From: Eric Lamontagne <eric@xxxxxxxxxxxxx>
- Date: Thu, 26 Jan 2006 17:25:06 GMT
Douglas,
Well thought out system. I think there may be a bit too much redundancy on your end but hey if your happy then sleep well!
A question regarding your DVD-RAM and DVD-r choice. Why not make a DVD-RAM with just the edit mix (one or two tracks). Then you could burn off your iso tracks for sound post on your DVD-r. This two disk approach could be a valid and justifiable process when talking to your PM about rates and charging accordingly. Infact you could charge for a flat amount of extra time at the end of the day for creating the extra DVD-r.
This process would be simple because the transfer house would always have a DVD-RAM (works with DV-40) format and sound post would always have a DVD-r with the GOLDEN ISOs.
thoughts? eric
Douglas Tourtelot wrote:
Hi all-
I am, as easily disserable from my recent posts, very new to the concept of NL delievry. But let me pose a question and see if anyone can tell me what pitfalls are inherant in the scheme.
I plan on delievring two DVDs (one DVD-RAM to telecine and one DVD-R to sound) a day, (two if we break film) delivered with the film as we used to with DAT. What these guys do with them is up to them. I would guess that telecine and picture editorial will pull my two-track mix and that post sound will be glad to have my isos. Every day, the day's work from the picture goes to everyone. Everyone, from day one can start collecting the sound for the whole movie one day at a time with the terabytes of disc space that they have available to them. They can make one extra copy to HDD or twenty if they feel that it's important to have that much redundancy. As well, they still have the master DVDs. From time to time, maybe every week or so once I am comfortable with the machines I use (I'll have at least two sets of cloned sound on the cart on HDD at any one time), disk-copy these files to another HDD for the "vault." I'll keep these until the show is "on the air" then reuse them for the next project. Hopefully, no one in post will ever need one byte contained on these drives.
I guess that in my ignorance, I see the folks in post, with their assistants and big RAID arrays much more capable of being in charge of backup and archiving than production mixers. They add an additional file to their HDD as they load up the NLE; takes no extra time, they have HDD units that never get moved, bumped, bashed, or hot-patched. Telecine doen't need the whole eight tracks, so, they don't transfer six of them. That's not hard, is it?
Anyway, I am attempting to see work flow in the KISS model. Our lives on the set are much more packed with technology than ever before; lots more traps to fall into without setting out to be responsable for work that has it's own traps and should be serviced by another department that is, arguably, better equipped to do the job. Will we be making clones of the video record and submitting them in the near future because, after all, with the addition of one more hard-disk recorder, we can? Whadda think about all this?
Regards,
D.
Dear Jeff,
Thank you for continuing this topic from AMPS. It keeps all our best interest in the foreground. As both you and Billy S. have contributed to the following video taped discussions on workflows. . .
The past is a good place for someone new to this discussion to begin indoctrination into the current workflow methods and practices in a file based chain. Those new to this might view the streaming videos posted on, Coffey Sound, Trew Audio, Gotham and the most current C.A.S. Streaming video. (That I haven't seen yet).
In today's real world, (US) the two work flows that seem to be the most popular are: Billy S... Deliver one mixed track for each camera on DVD RAM to telecine for dailies. And another DVD RAM to post with all the days tracks. Additionally if asked by post and at an additional charge, a fire wire HD is mirrored.
A method I have used is to deliver a mixed track on DVD RAM to telecine for dailies. And a weekly fire wire hard drive to post. I am using the 'Deva V" with a built in Super drive, removable hard drive, and an external fire wire port connected to HD or a disk. In both cases, after the Original Deva V 80G HD is full, it's stored on a shelf until the show is finished. The above scenarios are tested and work well for different projects but two or more deliverable media are needed to complete the workflow.
Very little attention is given to "who gets what first"...
I would love to see a discussion as to why just "ONE" media cannot be delivered to a DAW or whatever computer. Stored and then if need be formatted and spit out for a specific workstation or telecine. The sound post editorial dept is the best equipped and will maintain the integrity of our work. They are the most competent and current in these technologies and their associated workflows. With respect given to those who have brought us this far, could a substantial savings and a streamlining ever occur in our workflow without this change?
Sincerely
Ron Scelza
http://ronscelzasoundrecording.com
.
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- From: Jeff Wexler
- Re: Workflow - deliverables
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- Re: Workflow - deliverables
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