Finale It takes its time to

Finale

It takes its time to tell multiple, powerful stories with great dialogue, direction and performances. All times are GMT. The time now is 10:47 AM. For all HD formats including HDV, HDCAM, DVCPRO HD and others. Ive just shot a feature in HDV 720/25p on a JVC 111E and its intended for DVD release PAL. However, I want to keep the best resolution and quality possible because I also want to have a Blu-ray version present, along with the DVD and a possible film-out option for the future no budget for this at present. The edit will probably be on FCP, and compositing chroma work will be on After Effects. I also have a 45 second 3D animation on 3Ds Max. Probably, Ill be using the ProRes 422 codec to edit in FCP. My editor uses a Macbook Pro and I use a laptop PC. Hence the FCP and AE mix, instead of Shake. What is the best workflow solution? I cant afford Cineform. Ive used the trial version and it works Finale on the Premiere Pro, but since Im going FCP way and it has its own lossless codec, I figure why bother. So, in all likelihood, there is no way Im changing any of the software I mentioned above, cause Im stuck with it. How do I get files from FCP to After Effects and 3Ds Max and back? Will ProRes hold up and is it compatible with AE and 3D Max? Or should I change ProRes to something else, import the footage into AE and then render out to something else? Ive been reading a lot of posts, and the more I read, the more confused I become. So, I guess Im stuck! I would appreciate any help in this regard. Thanks! Location: Auckland, New Zealand Realistically your biggest concern is ensuring that your edit and tape logging records accurate timecode so you can produce an EDL that will work for a more sophisticated post house if you get the money to do a high end grade/DI at a later date before going to a film out. For DVD release assuming you are handling the duplication/replication ProRes is certainly a good intermediate format that you will not need to go back to an online from, less true if you are looking at doing an expensive DI and film out. Ideally all your graphics and effects should be output in an uncompressed format, then conformed to Prores for your edit. Realistically your biggest concern is ensuring that your edit and tape logging records accurate timecode so you can produce an EDL that will work for a more sophisticated post house if you get the money to do a high end grade/DI at a later date before going to a film out. For DVD release assuming you are handling the duplication/replication ProRes is certainly a good intermediate format that you will not need to go back to an online from, less true if you are looking at doing an expensive DI and film out. Ideally all your graphics and Finale should be output in an uncompressed format, then conformed to Prores for your edit. I shot without any records of timecode. I did that after some research on forums that it isnt really a big deal. Can a sophisticated post house manage without it? Anyway, I dont have the experience to log timecode in a way that might help anybody. I dont think Ill be handling the replication process, assuming what you mean by that is producing multiple copies of DVDs for release.