Work flow issues

[Floh Peters]

It depends on which company you will work with. If you are doing a tape-to-tape correction you should play out a DigiBeta master from an uncompressed timeline and an EDL for detecting the cuts. This should be from the finished show, but before any logos/titles/credits are applied. After you get the finished, graded mastertape you can then digitize and insert the parts where you need titles. Usually we would do that to a dub of the graded master which would get our final master.

[Elliott Dunwody]

Thanks Flo. Always good to verify my thoughts.

Elliott

Bright Blue Sky Productions
4811 Rivoli Dr
Macon, GA 31210

http://www.brightbluesky.com

[Michael J c]

I did just this exact thing.

For the color correction we did exactly as Floh describes… And actually, we were supposed to go tape to tape in the CC bay, but they ended up loading it on their system. But we did give them the EDL and they were able to CC cut for cut.

I also got rid of my dissolves at the end of the clips and gave handles into black where I could. That way they could color correct the entire shot.

But to tell you the truth, I don’t think we did much of anything in the Color Correction bay that could not have been matched exactly here in the M100HD (especially if I had someone who knew a decent amount about CC). Unless you have stuff you really need to correct (or you’re know as little about being a colorist as I do), I’d save the money.

The audio is a bit more frustrating. No omf support means we export each track as an un-mixed AIFF file with reference levels and handles. I got lazy in the creating of visual sync pops at the begining and end of each program, and we did spend some time re-syncing… (my bad there).

[Elliott Dunwody]

Thanks. We are looking at options now.

E

Bright Blue Sky Productions
4811 Rivoli Dr
Macon, GA 31210

http://www.brightbluesky.com