We're still noodling through the details on how (and when) to ingest the different formats we shot on. While 80% of the film was shot on the RED ONE, the rest was on the Sony EX1, Sony EX3 and Canon's amazing little 5D. This resulted in a bunch of different formats (the Sonys were used on our European shoot, so were at 24.98 fps, while the Canon was at 30fps and the RED was at 24fps).
I've also been spending a ton of time this month on sending out letters and emails asking for holiday donations to the film.
Which is a great segue to ask: Shouldn't you help make the world a better place by a holiday donation (in your name or your fav sci-fi fan's name) to help us edit together the In-World War rough cut?
Don't be an art-hating grinch this holiday season: donate today!
We're not above hardball tactics. Next step if you don't donate today: bawling babies and sad puppies in cages. Only you can stop the madness.
Tough situation, mainly because you'll loose access to the full color space when you transcode your red footage.
I'd consider using cinema tools to batch conform to match your RED frame rate, if the 30p had no dialog or if you are okay pitch correcting the dialog that would be slowed down, then you can do that no problem syncing it all to the 24.
Then edit natively. I know adobe premiere can handle that and I think FCP 7 can. Just make a timeline to edit the R3D stuff right onto. Then drag your non Red stuff into that timeline and just let it render. You can also edit on a side sequence and paste it in.
When ever eediting natively is possible I recommend it, I'm on a project where that wasn't possible so we went' with the pain in the ass Apple Pro Res, however if you must for some reason transcode, then pro res is a good choice. Cineform took too long to process making it not practical.
Also be sure to check out pluraleyes if you have to sync anything, it's a completely genious program, but only works in FCP.
Arin
Posted by: Arin Crumley | December 18, 2009 at 07:23 PM