Online VS. Offline editing?

[DanielRutterFilms]

I've recently come to an understanding of the terms "offline" and "online" editing. Working with the original, uncompressed footage (online?) during editing, otherwise editing compressed, smaller files to save hard drive space and save strain on the computer/system you're editing with.

Now, my question is... which would be better? And how exactly would it work if I wanted to work with the compressed footage (to save strain on my poor old PC) and then later, after I've done editing... replacing the compressed footage for the original footage for final output? I plan on buying a Canon HV40, and I am definately going to use it's HD feature... but I doubt my computer could handle the size of the uncompressed footage, let alone the processing power needed to play the footage back in real-time during editing.

What should I do? (don't suggest a new computer... I can't afford it on top of the camera).

 

[CDCosta]

To be honest, I've never had, or never have heard of anyone with this problem.

Maybe because cheap HD is relitivaly new.

Editing it compressed, then replacing it with the raw, might be more of a hassel then you might think.

You would need to rename all of your raw footage to match that of your compressed.


You could get an editor.

 

[Anim8]

You can use proxies for this (Premiere). I've done it a few times when the original uncompressed files were just to big to manipulate in real time.

You edit using the proxies (smaller versions of the original footage). When you render you can tell the machine to use the original footage.

Everything has to be frame to frame correct for it to work. On a decent PC, you shouldnt have any issues.

 

[indietalk]

Your online edit is when the tape is running through the decks.

 

[sonnyboo]

I've recently come to an understanding of the terms "offline" and "online" editing. Working with the original, uncompressed footage (online?) during editing, otherwise editing compressed, smaller files to save hard drive space and save strain on the computer/system you're editing with.

Now, my question is... which would be better? And how exactly would it work if I wanted to work with the compressed footage (to save strain on my poor old PC) and then later, after I've done editing... replacing the compressed footage for the original footage for final output? I plan on buying a Canon HV40, and I am definately going to use it's HD feature... but I doubt my computer could handle the size of the uncompressed footage, let alone the processing power needed to play the footage back in real-time during editing.

What should I do? (don't suggest a new computer... I can't afford it on top of the camera).

The smaller files are called PROXIES (as already mentioned) and this is a decent way to edit, but you may still have issues. If your computer can't handle HD files, you have no way of digitizing in HD and creating the proxies in SD (Standard Definition).

It costs money, but I'd recommend the CINEFORM (www.cineform.com) plug in for Adobe Premiere/Vegas/Final Cut Pro NEO SCENE which is only $100-$200 and it will alleviate a lot of the problems. You can work with an ONLINE edit from the start and use less CPU and memory since their codec is streamlined. I use their higher end products (ASPECT HD and PROSPECT HD) and this works for me on older CPU's.

 

[DanielRutterFilms]

I'm a Sony Vegas 8 user, so I'm looking to stick with that for now. Proxies... is it possible to do this in Vegas? If I cut and apply effects in the Sony Vegas timeline using the low-quality renders of the original files, and then 'replace' all the files before the final output render... will this work?

 

[sonnyboo]

The Cineform codec works in Sony Vegas...

 

[barnaclelapse]

You can use proxies for this (Premiere). I've done it a few times when the original uncompressed files were just to big to manipulate in real time.

You edit using the proxies (smaller versions of the original footage). When you render you can tell the machine to use the original footage.

Everything has to be frame to frame correct for it to work. On a decent PC, you shouldnt have any issues.

Yeah, that sounds about right.

Hell, the computer I have is no great shakes, but even I could probably handle this.

Interesting stuff, at any rate.

 

[grinner]

I seldom have time to offline and, doing reality/documentary, I often have to grab everything so I just plan accordingly with drive space.
I capture at 1:! (most of the time... sometimes I can get away with 2:1, depanding on the show) and I approach with a non-linear fram of mind, throwing all usable shots on the timeline to see what I'm working with. I almost never have a script so I tell the story in post.
I then step back and look at how much usable stuff I really have, ignoring my running time goal. I then go from the top, rearranging per the stories need and I cut things closer to time. I do this until I have the story layed out, adding VOs or gaps fro graphics as needed.
I go from the top again with music and I make the show it's TRT at this time. I then go from the top with b-roll. Now is when the onlining process starts. Married to my shot selections, I do the color correction/creativity at this point, add effects, create transitions, mix levels, finalize sound design, ect. I honestly ignore my scopes until this point except when capturing. I do all of this last so I don't waste time treating shots that may end up on the cutting room floor. My turn around times are never more than a week, even with an hour long show so this workflow works best for me.
I then master to the spacs of the network I'm making the show for. These specs vary and it's the job of the online editor to create the end result required.