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December 17, 2009


Arin Crumley

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.


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In-World War
Mary in front of a green screen
Junior looking into the phone
Tix at the Griefers Ball

Current status

  • Post-production action items (updated 10/3/21):
    - Finish first round of stop motion VFX.
    - Recruit more 2D traditional animators.
    - Plan the last pick-up shots.

About the film

  • In-World War, a smart and offbeat indie sci-fi feature, tells the futuristic story of a debt-ridden and depressed beta tester trapped in a buggy virtual reality simulation of the "war on terror".

    This site chronicles the making of the film, which is written and directed by Brant Smith (aka DJ Bad Vegan), who also produced the award-winning narrative feature Quality of Life.

    Contact: badvegan [at] studiolomismo [dot] com

Who will I be today?