I shot my first film on Super 16mm film, which is a completly new experience for me.
And I have many concerns reagrding my editing pipeline.. I should prolly post this on an editor's forum.. but I figured I'd give it a shot.
Here's my pipeline:
- Shot on Super 16mm
- Transfered Via Spirit (Tech-light) to HD-CAM SR at 24 fps (segmented frames)
- Made a copy of my HD tape to DVC-PRO 50 to get the sound synchronized. This DVC-PRO 50 tape runs at 30 fps (pull-down/non-drop)
Now, I want to make my first off-line cut and then go back and get my hi-rez shots from the HD-CAM tape.
- I can get my DVC-PRO 50 tape digitized on an Avid Adrenaline. Hence creating files encoded with Avid's codec.
BUT, I HAVE to do the editing in Premiere... dont ask me why.lol
- How can I transfer the files to be premiere compatible without losing my timecode info? I'll ask for a time-code burnin just to be safe... but I want to make the EDL creation as painless as possible.
Also, the offline footage I'll use for my rough cut runs at 30 fps, but the original tape runs at 24 fps (HD-CAM). Is that dangerous?
It's causing me massive headaches. I don't want to get screwed down the line.
Thank you very much,
A tricky one: Off-line editing and many restrictions
1 reply to this topic
Posted 15 December 2007 - 03:53 PM
You might be better served going to an editing forum. Adobe has links to Premiere and After Effects user groups. Folks here lean more towards the camera end of things. I've gotten dynamite info from the editing forums.