So far my new job has been a breeze. FINISHING EDITOR on a series shot on HDV, captured as ProRes. I mount the SAN drives, media manage the footage with handles to a local SATA drive, fix all the speed changes and still images, send to color…color correct…send to FCP. Add titles and mixed audio. Output to tape. Textless too.
Wham bam thank you ma’am.
But now I have a challenge. The next show is the first show in ANOTHER series this company is doing. Also shot on HDV, and they STARTED to capture as ProRes, but realized after about halfway through that there is no way they have enough room to handle this. So then switched to capturing HDV…but then there were rendering issues with that, so the rest they captured as DV, downconverted from HDV.
On top of that there is stock footage that is on Beta and digibeta that will be coming in soon, but is currently in the system as DV (from DVD samplers).
OH, and one of the producers here gave us some stock footage to use that he shot on DVCPRO HD tape (Varicam), that he captured on an Avid…but instead of renting a deck to recapture he will be providing the master MXF files that are DNxHD 175. I have the Avid codecs on this system so I can see them, and will have to convert them.
So I will have mixed ProRes, HDV, DV, DVCPRO HD from Avid (MXF)…and then DV quality stock footage that needs to be captured and upconverted to 1080i (easy peasy with the Kona 3…no frame rate conversion this time). But the fun part will be FINDING all of this stuff on the timeline (especially the HDV stuff) and separating it out and media managing and capturing. Whew…what a lot of stuff to keep track of.
Then I will media manage it locally and send to Color.
But I look forward to the challenge. Glad I have a week to do it.