Phantom Flex Workflow

Question

Phantom Flex Workflow

I have shot a commercial on Phantom Flex at 2K, 1000FPS.

I have to work on the offline in one country. The CG and Post will be done in another. What is the best workflow?

Note: The Phantom Flex DOES NOT record SMPTE time code. Only frame sequences. How do i quickly import my frames sequences in FCP, make an offline cut with lots of speed ramps and then export an edl to reconnect to the original .cine raw frames for CGI and grading/online?

Any thoughts?

GlueTools is a solution, but it will generate 2k offline timelin, something my post house cant handle on offline.

MacBook Pro, 2.8 GHZ, Mac OS X (10.6)

Posted on Dec 1, 2010 3:01 AM

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Answer 1

Dec 1, 2010 10:48 AM in response to Paramvir Singh

Would have been better if you had explored these issues before you did the shoot.
Converting image sequences into movies is easily researched; QT can handle the task, so can Motion.

Never heard of GlueTools but if the post can't handle the native 2K online, what are you going to be releasing?

bogiesan

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Answer 2

Dec 1, 2010 10:50 AM in response to Paramvir Singh

Compressor 3.5 has the capability of converting Image Sequences now.

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Answer 3

Dec 1, 2010 1:49 PM in response to Michael Trauffer

I had a thought about the workflow before I started. Itys just that its taking far too long.

1) Copying the 256GB files to the post facilities' HDDs is taking 3 hours.
2) then converting to .movs so FCP can work on them using Vision Research's software is taking another 15 hours or so.
http://www.visionresearch.com/Service--Support/Downloads/Software/

I was wondering if there is a faster solution.

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Answer 4

Dec 1, 2010 2:26 PM in response to Paramvir Singh

Of course there are better ways but they're based on working backwards form the release medium. Manipulating huge bulks of native raw images without a defined outcome is, umm, tedious if not silly.

There must be Phantom user assistance someplace.

http://www.visionresearch.com/phantomzone/viewforum.php?f=3

bogiesan

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Answer 5

Dec 1, 2010 4:47 PM in response to David Bogie Chq-1

my end release format is HD.

my post house requires me to give them the raw .cine files for CGI/Grading AFTER the offline.

When I use the Phantom CineViewer 675, it gives me an option of saving the .cine files as .movs. however i am unable to resize them and the 2k files do not playback in FCP. The Phantom Support forums do not seem to be active. No one has replied to my post yet.

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Answer 6

Dec 1, 2010 5:29 PM in response to Paramvir Singh

if this helps. My WIP:

I used the Phantom Cine Viewer to convert the raw 2k .cine files to the default .mov file (in "FASTEST") mode that it allows me. (about 6 hours, simultaneously rendering one third chunks across 3 PCs)

these files do not playback in my post house's 2.26Ghz Quad Core Xeon with 6GB Ram and an AJA Kona Card.

So I have to re-render them from Compressor using Apple Pro Res 422 (at 1920X1080), another few hours.

These files finally playback on the MacPro FCP.

I added Master Comments and mentioned each clip's name there (as in 'this shot from shot01' and so on, based on the name of the MASTER .cine files)

export an edl CMX3600 with Master Comments enabled.

this generates an edl which supposedly lets me find my original .cine frames (manually)from my rushes. phew. tedious. all phantom could do is learn from red about simultaneously saving lower res files with the same time code. YES, TIME CODE.

Almost regretting having shot on Phantom.

any thoughts?

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Answer 7

Feb 21, 2011 3:42 PM in response to Paramvir Singh

Timecode??? Really? SMPTE timecode only works for framerates under 29.97, this is widely understood.

The flex uses I-RIG timecode, which is much more accurate for highspeed shooting. It's used by the military and works off GPS. You must not of had a good Phantom Tech or have done the research yourself.

Shooting on the Phantom should be a great experience. You can finish on the Raw files, or On tape (or to a Ki Pro). You should never shoot on such a powerful/complex camera without doing a prep first. The prep should include talking to the DIT, Phantom Tech, Editor, DP and post supervisor.

Please don't regret shooting with this camera, when it's your fault that you didn't know what you were walking into.

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