Jan
Although some would say that little by little the panorama is standardizing, the professional reality is that nowadays dozens of high definition (and higher) formats and codecs coexist in the audiovisual industry. The times when a PAL tape (with whatever codec) was sent to post-production are long gone. Now cards, discs, tapes (still) and other gadgets are used for image acquisition. The work of the editor can no longer be dedicated only to editing, he is the first person to receive the material and in many cases he will be the one to decide the workflow to follow during the rest of the post-production chain. Knowing all the codecs and formats and knowing how to establish with them the most appropriate workflows for each project is the task of this course. In addition to this video theory applicable to all post-production programs on the market, the student will learn how to process ALL these workflows in the professional editing tool Avid Media Composer 6.
TEACHER: Luis Ochoa. Avid Certified Instructor, colorist (Tierra de Lobos, London Film School) and DOP. See colorist reel and IMDB file
DURATION: 12 hours
SOFTWARE USED: Avid Media Composer 6
AIMED AT: Editors and assistant editors, post-producers, colorists, post-production directors, filmmakers…
PREVIOUS KNOWLEDGES: Handling the Avid tool and being familiar with the technical terms of the video signal and its digitalization and processing in Avid.
PRICE: Consult us
WHEN: Consult us
WHERE: Mass Digital
COURSE CODE: Forthcoming
You can download the documentation for the course here.
CONTENTS
Introduction to HD post-production:
– Analog and digital SD formats, digitization process.
– PAL 601 characteristics. Connections.
– HD resolutions: 1080, 720, 2K, 4K.
– Interlaced and progressive scanning in capture and recording. Psf
– Signal sampling: 422, 444…
– Aspect ratios: 16:9, 4:3…
– Pixel ratio: square and non-square SD and HD
– Compressions: DCT, MPEG…
– Transfer rates. Calculation of the weight of each format
– Supports (Tape, hard disk, solid memory, optical)
– Interfaces (Firewire, USB, HDMI, HD SDI, Dual Link, HD Comp, Ethernet, 3G SDI)
– Current HD and higher formats (HDV, XDCAM HD (EX), HDCAM (SR), P2 DVCPROHD, ACVINTRA, RED ONE, AVCHD, 2K, 4K…)
– Avid according to formats. Software and hardware
– Files. Metadata and media
– Media formats (magnetic, MXF, frame sequence, RAW, QT)
– Codecs camera and postproduction. Avid DNxHD, Apple ProRes
– Camera proxies.
HD Workflows in Avid:
– OMF and MXF media folders. Order of material
– New Project HD
– Mix resolutions, codecs and scans. Format tab
– Mixing frame rates
– Codec of the material, project and sequence: Dump, filler, QT Ref…
– Timeline viewing qualities. Settings
– HDCAM Workflow (Capture, conform and export)
– Common file import problems: color space, field order
– Conforming settings (Batch capture and import, render, media creation, recreate title)
– Advanced Relink in conforming
– Downconversion SD. Letterbox, squezze, pan and scan. Mixdown
– Workflow HDV, AVCHD
– Export transport stream
– Avid Media Access (AMA)
– Relink (clips and sequences), batch and media tool with AMA
– Workflow P2 DVCPRO HD (AMA, Import P2 and Media tool)
– Working with different frame rates in P2
– Offline – Online P2
– Workflow Canon 5D/7D, XF Codec
– Workflow RED ONE, ARRI ALEXA, CINEFORM RAW
– Workflow AVCINTRA P2 and SD
– Workflow XDCAM HD EX
– Workflow XDCAM HD 422 (AMA and Proxy/batch)
– Master for HDTV or filming to film
For more information, please send an e-mail to info@709mediaroom.com.
