Professional Workflow

[Chris Pepperman]

The problem I run into is that 90% of what I color correct on a weekly basis is for TV programing. We shoot anything from RED,5D, assorted P-2 cameras as well as Go Pro. Because we are so restricted with time …everything goes thru the Episode to conform to house standard which is 720 59.94. Once our shows are edited in FCP we spit out a Pro Res QT-LT which gets scene detected,color corrected and rendered out with the same codec. When we work on shows that are NOT time sensitive we then transcode thru Da Vinci making Pro Res QT-LT for the edit. We then open the XML and re-link to Native files for color correct. A total mixed bag but a neccissary comprimise.

Chris Pep