TAILIEUCHUNG - Avid Digital Cinema Camera Workflows

TI assumes no liability for applications assistance or customer product design. TI does not warrant or represent that any license, either express or implied, is granted under any patent right, copyright, mask work right, or other intellectual property right of TI covering or relating to any combination, machine, or process in which such products or services might be or are used. TI’s publication of information regarding any third party’s products or services does not constitute TI’s approval, license, warranty or endorsement thereof. . | Avid Digital Cinema Camera Workflows Avid Digital Cinema Camera Workflows Table of Contents TABLE OF CONTENTS 2 OVERVIEW 3 AUDIO 4 24 25 CONSIDERATIONS 7 AMA VS. DAILIES TRANSCODE 7 AMT DNXHD 8 RED DIGITAL CINEMA CAMERAS 9 FINISHING R3D FILES IN HD USING MEDIA COMPOSER OR SYMPHONY 14 MXF DNXHD RELINK 16 AMA CONFORM FROM A REDCINE X PRO OFFLINE TRANSCODE 16 ARRI ALEXA 18 CODEC 18 LOGC LUT 19 ARRI PRORES OFFLINE ONLINE 20 MEDIA COMPOSER OR SYMPHONY FINISH 21 ARRIRAW 21 BLACKMAGIC DESIGN CINEMA CAMERA 23 OFFLINE EDITORIAL 23 ONLINE 24 2K CONFORM 24 EDL AND AAF 24 EDL 24 AAF 26 SUMMARY 27 APPENDIX A COLOR CORRECTION AND DAILIES SYSTEMS 28 APPENDIX B AAF RESOURCES AND INFORMATION 29 APPENDIX C RED CAMERA METADATA MAPPING 30 APPENDIX D ARRI ALEXA METADATA MAPPING 31 2 Avid Digital Cinema Camera Workflows Overview Since the introduction of the Sony 24p HD camera in late 1999 the world of digital cinema has changed. Digital technologies have been chasing film the gold standard not only in imagery but also in providing additional benefits such as reduced costs and immediate access to the dailies in post. With changes in technologies the advantages and disadvantages of new formats and solutions need to be weighed in context of the overall goals and delivery of the program itself. Content producers need to take a holistic approach to what is right for the entire production. While cameras formats codecs and resolution seem to change on a monthly basis there are only a handful of options for a post-production editorial solution. Producers need to make decisions based on how flexible and extendable the system can be to meet not only the creative needs of the project but also the overall deliverables for today s world of multichannel distribution. Avid Media Composer is the industry-leading solution both creatively and metadata-wise enabling you to either finish projects in system for HD deliverables or maintain all metadata and changes for conforming and finishing

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