The other solution is to use either another local production house or
one of Terry Curren's Digital Service Station companies that are
scattered around the country.
You just send them the finished, graded file (though how you can color
correct a doc without scopes is beyond me) and Digital Service Station
will deliver as many dubs of the tape in whatever formats from the
file. This is probably your most foolproof solution.
Another way to do this even cheaper would be using an AJA KiPro. I
just wrote an article in the latest provideocoalition newsletter:
http://provideocoalition.com/index.php/pvcproductionpipeline
Basically I go through most of these same methods myself for HD. I
have the scopes and the video card (Kona2) and DigiBeta and Beta and
DVCPro decks, but no HD decks. So if I need HD output, I simply export
a QT file to a hard drive and shuffle the hard drive to a place that
has Final Cut and an HD deck. They export it for me and charge me for
it. There are a bunch of places in Chicago that do this. I'm not sure
about Austin, though I have some clients down there. I'd just ship a
drive off to LA or Chicago or Orlando or Columbus or if you can find a
place in Austin or Dallas that can do it. Let them know it's for PBS
and that you need it QC'd for PBS specs. Provide your local station's
PBS specs if you have them, or assume that they're the same as the
national PBS specs.
Digital Service Stations are at:
http://www.digitalservicestation.com/
On Nov 11, 2009, at 2:42 PM, Mark Coffey wrote:
> Always put the ball in the other guy's court!!
>
> email them back outlining what it will take to accomplish what they
> wish. explain to them that you don't have the gear necessary to do
> the job and suggest they try to get in touch with one of their
> contacts for a trade or to call in a favor.
>
> good luck
>
> mark
>
>
> MacPro Octo 2.8---10GB RAM
> 10.5.6---FCS2 6.05---AJA IOHD
>
> Mark Coffey
> Tsunami Editorial
> Austin, Texas
> 512.413.3133
>
> On Nov 11, 2009, at 2:01 PM, conigs wrote:
>
>> First, backstory: I am primarily a commercial editor & motion
>> designer. But sometimes I do off-projects such as color grading &
>> design for local docs. I freelance at facilities or occasionally
>> work from home, where I have minimal gear.
>>
>> One project coming up is just such an off-project: color grading a
>> doc destined for the local PBS station, which is happening in a
>> couple weeks. It is a small outfit with a couple of MacPros, an
>> HDTV, small SD broadcast monitor (no video cards, though), and a
>> couple HVX-200s.
>>
>> <rant>
>>
>> Today, I received this in an email:
>>
>> "I'm hoping I can get you to help us output HD files to HDCam tape
>> for Public TV. Can I ask when you might be able to do that anytime
>> after 12/19?"
>>
>> I'm hired on to color grade, and now I'm being asked to arrange HD
>> output to a deck which they don't have through a video card the
>> also do not have. Knowing the discount I am giving them, I know
>> they don't have the budget to rent a deck, nor do I know of
>> facilities in the immediate area who both have an HDCam deck and
>> would be willing to donate the time necessary to arrange output.
>> But somehow it's presumed I can just take care of it.
>>
>> At least this is coming up now and not on my second-to-last booked
>> day with them.
>>
>> I understand that one can't be expected to fully knowledgeable in
>> every aspect of (post) production, especially in a small
>> documentary outfit, and maybe I'm making too much out of it, but it
>> drives me nuts when things like HD deliverables aren't thought out
>> before production starts, when the choice to shoot and post in HD
>> (720p, actually) has already been made.
>>
>> </end rant>
>>
>> <<If my client finds this and is reading it, I'm sorry. But we've
>> probably already talked this through.>>
>>
>>
>
>
>
> [Non-text portions of this message have been removed]
>
>
>
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