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Kona HDCAM online for AVID NITRIS Color Correction
Hi – I have a interesting workflow issue for an independent feature film.
We shot on HDCAM 23.98psf via a Sony F900 cameara and we are onlining using a Kona 2 Final Cut Pro system. Our colorist is located in a different country and uses an AVID NITRIS DS for correction. We would like to deliver digitally on hard drives to the colorist if at all possible. Our question is what format should the frame sequences be for this delivery and what capture settings should we use on the Kona to ensure best quality across the board. I have determined the following 6 possibilities that make sense:
1) 10-Bit 4:2:2 DPX
2) 10-Bit 4:2:2 TGA
3) 10-Bit RGB DPX
4) 10-Bit RGB TGA
5) 10-Bit RGB LOG DPX
6) 10-Bit RGB LOG TGANote that once the footage is colored we will bring it back into the FCP system to add VFX shots and titles. Obviously consistency across the board while retaining the best quality is our goal.
As another option, is it simply safer to drop the onlined reels to HDCAM tape and have the colorist redigitize on his end?
Any help would be greatly appreicated.
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3 Replies
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Output to tape and send that to him. That is my suggestion. Any of those formats you export will go thru a conversion when imported into an Avid…so compression. Send a tape.
IMHO.
Shane
Littlefrog Post
http://www.lfhd.net -
I agree – send a tape – its DIGITAL – you are not losing anything. And if you dont’ and he gets your drive media, he will complain saying “I can’t mount your drives on my XP system, what should I do now”. SEND A TAPE.
Bob Zelin
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Edit in FCP and record to HDCAM. Use EDL Mirror from Digital Heaven to sort the EDL so that the record In/Out timecode is mirrored to the Source In/Out timecode. This way the Nitris operator can digitize off the HDCAM and still have the individual shots in the sequence, rather than a single long clip which he has to manually chop them up.
EDL Mirror : https://www.digital-heaven.co.uk/edlmirror/
-chrispy
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