Avid Workflows for Digital Cinema Cameras
Valuable tips for a smoother end-to-end workflow
With a proliferation of high-resolution cameras, formats, and ever-evolving standards, today's editorial workflows are rapidly growing more complex. How can you integrate disparate technologies into a streamlined and cohesive workflow?
- This new white paper provides a wealth of information about the latest high-resolution workflows, and offers targeted tips and real-world information that will save you tons of time and help you avoid costly mistakes.
- Learn about working with popular high-resolution cameras and formats
- Discover tips and tricks for saving time and avoiding snafus
- Find out how to streamline your high-resolution workflow
- Get expert advice on audio, conforming, frame rates, metadata choices, and more
- This is a resource that no media professional should be without?download the white paper now.
Since the introduction of the Sony 24p HD camera to the market in late 1999, the world of digital cinema
has evolved dramatically. But while cameras, formats, codecs, and resolutions seem to change almost
every month, there are actually only a handful of reasonable options for a postproduction editorial solution.
When considering the options, it is important to weigh all technological choices in terms of advantages and
disadvantages to the overall goals and delivery of the program itself. Content producers should take a holistic
approach to what is right for the entire production. Systems need to be flexible and extendable 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 leading solution for both in-the-box finishing of HD projects, as well as for
maintaining all metadata and changes when conforming and finishing hi-res projects in third-party systems.
This document will detail numerous digital camera workflows using new features in Avid Media Composer 7,
such as; Dynamic Media Folders (DMF), color management with ASC-CDL support and LUT support, and
region of interest with FrameFlex?. Some general terms and concepts to be familiar with when creating
a digital cinema workflow will also be highlighted. Any of the processes described will be common to all
workflows cited, and all will have features that need to be understood and considered to form a comprehensive
This document will concentrate on workflows that are associated with greater than HD size capture (2K+), and
finishing at HD or greater resolution. The workflows described will focus on several popular formats used in
digital cinema cameras that work with either RAW, QuickTime-wrapped codecs (e.g. Apple ProRes and Avid
DNxHD), or compressed Long GOP codecs. download the white paper now
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