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Avid Whitepaper: Digital Cinema Camera Workflows

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Gary Bettan
Avid Whitepaper: Digital Cinema Camera Workflows
on Feb 7, 2013 at 5:23:38 pm

With the ability to track multiple sources and timecodes, combined with AMA and open standards such as MXF, AAF, and DNxHD, Media Composer and Symphony give you the most flexibility in the post-production pipeline. Finishing and mastering can all be done directly within Avid products, or easily transported to third-party systems—or a hybrid between the two. The editorial process may seem complicated at first when dealing with high-resolution formats, but careful planning heads off any of the issues that may arise. Consult with all parties involved in both the production and post-production process for picture and sound to ensure that everyone is on the same page before the cameras roll or, in the file-based world, before the production capture process begins.

The workflows described in this document will focus on three popular camera formats:

  1. RED Digital Cinema Cameras (EPIC and SCARLET)
  2. ARRI ALEXA
  3. Blackmagic Cinema Camera


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. read more...

Gary

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