Workflow suitable for Feature Film edit?

Hi.
I work for a company that specialises in hiring large Avid systems to feature film projects.
In that environment, we have a number of editors and assistants each with their own machine hooked up to a central lanshare or unity. They can all open the same (main) project at the same time and all digitise / capture at the same time or while others are busy cutting - as soon as someone closes a bin, its updated contents are available to the rest of the team.
I know that multiple FCP machines cannot use the SAME project file at the same time. And I know that FCServer must have project files checked in / out. I also know that media captured is associated to the project that it was captured to.
So how to people use FCP for this type of team effort. On a movie, there are usually five or so people working on the same project and they all need to be able to capture if they need to (and have that media accessible to all asap), and be able to look at (or work on) each others' sequences at the drop of a hat.
With Avid this is all very mature and there are systems in place for this kind of collaborative workflow. Hows it work with FCS? How do you guys manage a single project that is being worked on by five different guys?
Any help is very welcome!

@Studio X:
I have not walked into anybody's office and asked for free advice, I have gone to a place that is specifically allocated as a place to share ideas and knowledge.
Secondly this is not a contractor speaking to an architect, as you put it; a better analogue is an architect asking another architect for advice.
Now I admit you are right, some architects would not give advice to 'the competition' as they might see this as undermining their business. I, however, am of the opinion that the sharing of knowledge creates valuable alliances, and for me this is a given when the two parties are not competing for the same client. In any event, this approach has not hurt our business (quite the contrary).
Anyway. Its simply two different points of view.
I am surprised though that you find my outlook curious! In what way?
@Shawn:
Thanks for the links. I appreciate the effort.
@RedTruck:
Thanks mate, but the features we are involved in don't work like that. In terms of the post team, they have a very well rehearsed working relationship. We are not hired to tell them how to do their job; they tell US how they want to work and we design the systems to do it. In this instance they have asked for the system to run FCP which is very unusual, its usually Avid. But they have Oscars and I don't, and its their money, so I'm not going to argue!
I do think though that we will just do what we always do; and that is purchase the kit, get it in the workshop and figure it out for ourselves. With a whole bagful of testing!
Thanks everyone for your input.
Dom.

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Media organisation for fiction film editing

Hello.
If anyone had experience with FCPX and fiction film editing, I would appreciate if you could help me find out what is the best practice for organising and labeling the material.
I started editing on flatbeds, got used to MediaComposer and was probably one of the first people to use FCP for cinema fiction film editing. Recently bought FCPX, went through some tutorials and played a little, but I'm still not at home with it.
The projects I'm considering would be shot with either ARRI Alexa or Canon DSLR, thus each shot comes as a separate file, and would be labeled by the assistant according to marks on the slate. (We use Scene/Shot-Take system e.g. 5/3-2x). Sound is coming in separately as WAV files which need to be synced to the picture.
Also, if you have any comments on editing fiction narrative films with X, I'd be interested. I was quite distracted today when I realised that FCPX doesn't remember where I stopped watching a clip when I come back to it after taking a look at some other take or shot!
Also during today's experimenting it seemed awkward that MatchFrame (Reveal clip in Event browser) doesn't open the collection from where I actually inserted the clip.
Thanks.
Mato

Hello Matoid,
I am now facing the same situation that you did, and was wondering if you came up with workflow for editing a feature length film on FCPX.
I would specifically appreciate any advice on the following:
All the dailies are synchronized QT files organized by shooting day. For instance, a file named Shooting Day 1 will contain all the synchronized dailies that were shot that day. The files are in the following format:
Dimensions: 1920 x 1080
Codecs: Apple ProRes 422, Linear 422
Color Profile: HD (1-1-1)
Audio Channels: 2
Since I come from the old school of editing, I would like to organize all the material by scene, shot and take number, so the first question is, how should I go about splitting the files into single takes?
What I’ve done so far with the first two days of shooting is to create an event for each day, then select each take within the event, create a compound clip, and label it according to its slate info (Scene # +Shot + Take #). Once I break up the Shooting day event into several scene clips, I create a new event and label it by Scene #, and then I copy all the clips from the Shooting Day Event that correspond to the Scene Event. Then I go back and delete all the clips from the Shooting Day Event and lastly y also delete the Shooting Day Event to make sure I am not doubling up on clips.
This seems to work, but I feel there must be a more effective way of doing it.
Another question I have is, should I assemble each sequence into its own story line and then string all the storylines together for the completed film, or should I just assemble everything in one story line?
I am sure that more questions will come up as the project evolves, but for the time being any advice on how to go about organizing the project would help me a lot and would be immensely appreciated.

STP very, VERY unstable for projects 45min DO NOT use for feature films

My mac has crashed nearly 50 times while using STP editing audio for a feature film. It simply isn't ready for primetime and its really bad. I've done all the troubleshooting tips (deleting preference files, cache files, etc.)
I would wholeheartedly suggest anyone look elsewhere if you have a large project. Digital Performer, etc. just anything other than STP

I've been using STP for almost five years for my podcast. Early on I discovered that, depending upon settings, I couldn't record more than a certain length without major issues. Essentially, the recording would get lost in a kind of crazy quilt of short patches. Cutting the file in two and then splicing together after editing usually fixed the issue.
These days, for example, recording at 96/24, I can get close to an hour and a half without any trouble. Usually I record less than an hour and a quarter, so I'm fine.
Otherwise, my sense is that STP has gotten more stable over time, though it's still plenty buggy.
g.

Dream build for Premiere Pro CC 2014 feature film editing...

How does something like this feel?
Case
Something "silent"
Power-Supply
850w quiet
Processor
Intel i7 Haswell Extreme CPU
Clockspeed     4.4GHz
Cores     5960X = 6 (16 threads), 5930k = 6 (12 threads), 5820k = 4 (12 threads)
Cooler     280mm
Memory / RAM
64GB (max)
DDR4/2133 CL-15
Quad Channel
Motherboard
Chipset     Intel X99
PCIe     5
PCI     0
SATA     10 SATA-III
eSATA     1
USB-3     6
USB-2     6
LAN     10/100/1000 Mbps
Video Card
GTX-780Ti (maybe ?)
What is the biggest baddest "supported" card right now for Pro CC?

Good call on processor - updated below.
Open to suggestions on Motherboard if you think it really matters - beyond it being X99 of course.
Cant justify the cost of high capacity SSD's at this time, and I've heard a few war stories about their limited writes when it comes to something as read/write intensive as editing video.
No idea on cooler - that was something left over from a copy paste I did.
UPDATED LIST:
Case
Something "silent"
Power-Supply
850w quiet
Processor
Intel® Core™ i7-5960X Processor Extreme Edition
(20M Cache, up to 3.50 GHz)
Memory / RAM
64GB
2666 DDR 4
Quad Channel
Motherboard
Chipset Intel X99
PCIe 5
PCI 0
SATA 10 SATA-III
eSATA 1
USB-3 6
USB-2 6
LAN 10/100/1000 Mbps
Video Card
GTX-980GTX
Hard Drives
3 Drive Setup
C: SSD - 256 GB
D: SATA III - 2 TB
E: SATA III - 1 TB
- OR -
4 Drive Setup
C: SSD - 256 GB
D: SATA III - 2 TB
E: SATA III - 320 GB
F: SATA III - 1 TB

Creating Subtitles for Feature Film Documentary

I am finishing up editing work on a Brazil documentary, and I am looking for the best advice in adding subtitling in FCP. In searching the forums, I have came across this,
_*http://www.belle-nuit.com/subtitler/index.html*_
Is this a better way to create subtitles other then just creating a text layer in FCP and creating a text block through the text generator for every line of text?
Is NOT recommended to create subtitles in FCP because it will embed them into the video once exported?
My main question is, what is the best way to create subtitles for a feature length film that is edited in Final Cut?
Appreciate any advice as our deadline is coming!
Thanks,
ben
Message was edited by: Cinematographer NW

I just looking for the best option now, before we start the final subtitling, so that we don't shoot ourselves in the foot. < </div>
That would be to create a standardized .smi file that can be read by many different subtitle applications.
Looking for a method that will give us the best options for distributing the film. Not having to re-do the entire output of the film to change languages, re-edit subtitling.< </div>
Umm, how exactly would you release the project in three different languages without creating three different versions? Or at least three different subtitle files?
Would that link I previously posted, or even using DVD SP give the best option, just dropping in a different DVD SP title stream? < </div>
DVD is a terrible way to deliver subtitles, IMO. Just bring one home and watch it. But there's a huge difference between open and closed subs and open and closed captioning, too.
There is no best solution that applies to all distribution media. You must decide on the delivery format and then work backwards.
I offer these as helpful places to visit (there are hundreds more!):
http://www.captionmax.com/faqTechProb.php
http://www.ccaption.com/nccwork.shtml
http://www.robson.org/capfaq/
http://www.channel4.com/corporate/4producers/resources/documents/ForeignLanguage SubtitlingGuidelinesJan06.pdf
bogiesan

Feature Film Editing in Premiere CC - Sequence Structure

I am looking to set up my sequence structure so that each scene has it's own sequence and then next each scene into a Master Sequence. My question is this:
Is there a way for Premiere to update the Master Sequence if the length of the Scene Sequence changes. As of now, I am not having much luck.
I know there will be small tweaks to the scene once I get feedback (Delete a line of dialogue, etc.) and would hope I wouldn't have to touch the Master Sequence for the continues outputs until the picture is locked.
And while we are at it, can some of you suggest how you set up your sequence structure for narrative features. Perhaps I am not approaching it in the best manner.

Perhaps you are not understanding the role of an editor. It is our job to create the sequence of material that tells a story. (Please excuse my snarky attitude)
As a scene lengthens or shortens, simply ripple edit the in or out points as necessary. The best method is the checker or a variation to the checker method; I often assign scenes with similar characteristics to a particular track, for example, all scenes that take place in the garden will live on track 3, all the kitchen scenes live on track 4. Or for story line 'A' you can designate tracks 1-3, then you can put the supportive / alternate story 'B' on tracks 4-6 also using the checker method. Again, excuse my attitude: don't be lazy.

Should a feature film edited w/FCP be broken into multiple projects?

I am shooting and editing a HD project. Being fairly new to FCP and having edited only a 5 minute music video, I am trying to determine if I am making a mistake in not considering creating multiple FCP "projects" to complete the 1.5+ hr movie. I am currently compiling (rough editing) multiple sequences in one project. I am not having any major slowdowns or crashes. I realize every situation/computer/project is different but I am not finding a specific answer in my searches through the forums. Any insight, links or information are greatly appreciated. Thank You
Workflow:Shooting Panasonic HVX 200, 720 native footage, P2 import w/P2CMS, Import Raylight link files to FCP.
Apple Imac 2.4Ghz Intel Core 2 Duo, FCP 6.03v, Mac OX 10.4.11, Video files on Glyph GT 062 Raid firewire drives.

It's really a matter of personal choice. You can break it into multiple projects, or just create multiple Sequences in one project.
This book may help you get/stay organized: http://store.creativecow.net/p/63/gettingorganized_in_final_cutpro
-DH

What's the best connection for Video/Film Editing and VFX...

External Hard Drive connected via FireWire 800 or Ethernet (Network) External Hard Drive connected directly to my iMac's Ethernet port?
Any Pros? Cons? How would that work? I am in a situation where I can exchange a USB 3.0 external hard drive (I totally didn't know 2011 iMacs didn't have USB 3.0 ports) with an Ethernet equipped (network) external hard drive.

I would go firewire even if the ethernet is rated 1Gbit/sec
not even sure how they will on adhoc networks which connecting it directly to the ethernet port would mean

Color grading workflow for full featured film ...

dear friends ...
i'm about to edit a full feature film on premiere CS5 ... will color grade with colorista 2 and other tools (maybe AE) ... and the final movie will go to lab to print the film on 35mm film stock ... when i talked with the lab they told me to take care of the LUT ... i do not know how work with the same LUT in premiere CS5 and i do not know how i can be sure that the film will look the same from premiere CS5 to the film stock ... any ideas how i can achieve this?
The main problem with this and every other electronic color corrector is that while making a nice image on the electronic screen it is not what you will see on the film screen. The problem is there is no consideration for the density v. exposure, nonlinear response of the display device, and most important no simulation of the undesired dye cross coupling in the positive print film.
thanks for co-operation.

Well something I would advise is tests...lots of tests.
I would suggest that you will want to export from AEFX for the files going to the LAB.
Have the lab advised you of the file specs and type they require. eg seq tiif / tga....
I dont have an answer for you about managing the LUT but....
I did tests and used the "eyeometer" method. eg. I projected the tests up at the lab. The projector and screen were calibrated to a Kodak cinema spec
Actually I found color was not the issue of any significance.
I did find the gammas were a slight issue (easily dealt with)
Shadow detail requires concentrating on ( otherwise noise)
Highlights needed to be controlled to avoid blowing them out and away.

Feature request: better tools for commenting and editing text

We currently use a comments-enabled Acrobat workflow with InDesign to track changes to our large catalog project. Was hoping to move our team over to CS Live, but currently the commenting tools are sub-par, and not accurate enough for extensive text editing. My request would be to imitate the text editing functionality of Acrobat:
In CS Live online:
- allow users to be able to copy selected text. (This is useful when a reviewer wants to be able to modify a sentence or paragraph. It's a headache now to have to retype the sentence prior to making modifications)
- Ability to highlight text and hit "delete" to mark text as deleted, or highlight and type over to indicate replaced text
- Ability to click to insert text, and have the comment appear with the inserted text designation (little blue carat like in Acrobat)
- ability to highlight a section of text
In InDesign:
- ability to copy the text in a comment and NOT copy all the other extraneous meta data. (Currently, if you click "copy text", it will copy the comment along with all the details about the comment. For example, "- Amy Stewart [10.06.11 at 12:56 PM]"
- ability to see in InDesign the EXACT part of the text that needs to be modified. Right now, the red box outlines the general area. The CS Review panel shows a tiny thumbnail with black highlight over the area of text that needs to be changed, but unfortunately, there's no way to zoom in on it, so you're stuck having to toggle between InDesign and the online review, where it's possible to zoom. (This diminishes the utility of the CS Review panel.)
If you were able to incoroprate all the commenting functionality of Acrobat, I think you'll have a winner. But right now, we're going to have to stick with Acrobat as it's the only way to easily modify text.

Sorry if I might be stating the obvious (but at least I was such a *dummy* once that I needed this explicitely):
In order to move the sequence of images per drag&drop in grid view you need to
Put the sort order in the bottom toolbar to "user order" (toggle visibility with letter T if not displayed)
Grab an image from within its thumbnail, not from its border-cell.
When you move around you see a vertical black thick line wandering in between images where you would be able to drop it
Put the images first into a collection in case they should be spread across multiple folders.
This is the reason why most often from a filter result you cannot re-arrange.
Still sometimes it does not work as I want, but can *be persuaded*, i.e. I repeat the same trial after first moving to another collection, then return back. I can't nail it down sufficiently to file a bug.
For an automated sorting according to filename (chosse that setting finally in toolbar) you could rename the photos in place, without exporting & re-importing. Just select them and hit <F2> to bring up the renaming dialog like possible during import.
+1 vote from me, as I am neither satisfied with the responsiveness of moving folders within LR e.g. from laptop hard disk to NAS.
Apart from that I try not to build much on my folder structure, just break them into manageable quantities and have a quick "diary-overview" by using naming convention "YYYY-MM-DD description of event" (pictures of up to 4 cameras go inside, unique filenames for Canons achieved by renaming during import). For all the rest I prefer to build (smart) collections.

Looking for Pre-Rendered Editing / Color Grading Workflow suggestions.

Looking for Pre-Rendered Editing / Color Grading Workflow suggestions.
All my material is rendered via RenderMan, our resolution is 1280x544, and our format is generally .exr in 32 bit space.
Our editor has been converting over to 32-bit tiffs, and using Apple Intermediate Codec for editing, mostly for speed concerns.
We need to re-vamp our workflow so that we can edit our footage, and then do color grading of the edit head to tail to smooth the look between scenes. We want to do this in Color, being fed by Final Cut Pro's timeline.
We want to keep our bit depth as high as possible when coming into Color.
My question is, does anyone here have any workflow suggestions for doing what I am talking about.
I wasn't sure if we should just export and EDL from FCP and try to get Color to load our single frames from that. Or if there is a special Quicktime wrapper we should be using, or converting our 32-bit .exr files into some other format more readily available for using in Color?
Any thoughts would be great, thanks in advance!

You're not going to get anywhere beyond 10-bit. That's it.
Try encoding to 10-bit LOG dpx if you need upscale RGB.
jPo

Is N level workflow in SRM suitable for BRF rather than the two step approv

Could anybody give some information about N level workflow in SRM abt whether it is more suitable for BRF (business rule framework) for agent determination rather than the two step approval workflow ?

Hi Rita,
BRF is process level configuration. You will have to define a schema and it will be tied to a Business object (say BUS2121). Schema consists different process steps. Each process step can be tied to a work flow (Task id). So, it doesn't matter whether 2 step or N step WF in BRF for the process step. Agent determination will happen regardless.
Regards,
DV

Yes I mean chapitel marker for iMovie 10 an important feature for DVD film a great handicap if iMovie 10 can't do this!!

Yes I mean chapitel marker for iMovie 10. I can't believe that this important feature for DVD film not work for iMovie 10!

Hi
But it doesn't.
So I stick to
• iMovie 6HD
• (iMovie'11 v.9.0.x)
• FinalCut any version
iMobie'13 v. 10.0.x is in many ways a dumbed down version. (MY opinion)
Yours Bengt W

Which of the mac laptop is good for film editing?

Please I need to kwn the right mac laptop for film editing?

pro or semi-pro?
Any high-key MBP with SSD and lot of memory, preferably i7 core
plus one of this: http://www.promise.com/storage/raid_series.aspx?m=192&region=en-global&rsn1=40&r sn3=47
for home video once a month - any with lot of HD space and memory
* any means 2011-2012 MacPro models

Best file format for archiving high def feature film clips?

Hey, all. This is a second question.
I got a part time job at a university assembling a database of feature film clips that have to do with wearable technology in popular culture. Basically my job is to go through feature film clips and assemble a database of clips like Iron Man testing his gear, Batman using his sonar in the Dark Knight, that sort of thing.
I'm not sure what the best file format to export my clips would be. They should be downloadable (and not huge) but still high definition. I tried making a clip where Iron Man tries flying for the first time, but the entire movie I downloaded was around 700 megs, and my two minute extracted clip was 150 megs, so I'm not doing something right.
Can anyone suggest a file format? It needs to be lossless (I think I'm using that term correctly) so that if students want to reference the clip they can pull high definition screenshots and whatnot from it.
Cheers,
DT

You might want to export twice, or maybe even three times for each clip. Once for the HD clip that is as high quality and visually perfect as possible, another for the compressed and relatively easily downloadable clip, and a third for the live thumbnail.
One example of how this is done can be found at one of my favorite sites, http://www.videoblocks.com - no advertising intended. I am sure almost everyone here gets plenty of ads for the site already. I just happened to suscribe when it was cheap.
In any case, you hover your mouse over a clip and it plays back in a small version. Then you have a choice of downloading the MP4 version designed to watch, or the MOV designed forediting.
That solves the problem for the students if the University has the storage space for multiple copies.
If you haven't seen VideoBlocks yet, sign up for the free 7 day trial and download so music, or AE templates, or something else you can use like transitions or lower thirds, or whatever. Then you can see how it works and why I think it might solve your particular problem. If you have a problem with signing up, let me know and I will record a screen capture for you.

Workflow suitable for Feature Film edit?

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