How is the workflow in production?

It is very important to determine what searches the recording from the post-production, knowing in advance how you want to handle, what is to be done with this material, where you plan to edit, among others.

Luis Pinto *

Content producers currently have two options for managing your files: one is to record a product on an HD format and maintain this atmosphere throughout the process of post-production or burn it in a larger format as 2K, 3K, Ultra HD or 4K and handle it according to your requirements and technical possibilities of operation to finish in HD.

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This is where we make a chronological alteration as in the film directed by Robert Zemeckis, Forrest Gump (1994), where Gump (Tom Hanks) tells in retrospect, sitting on a public bench, the Napoleonic feats that led him to be in that place despite their cognitive limitations, in this same way, we must establish how to see the production from the post-production, technical scripts almost that must be pre-processed from the post-production.

In Colombia the market is marked by large foreign chains who have implemented the Avid Media Composer systems that work with ISIS (now Nexis) within an equation with variable number of users, codec work and chassis number available for use . These chasises what they do is that together and hand software Nexis, establish the need for bandwidth of each user, make a buffer of information, package it and send it to each of its members according to work you are doing, what can at any given time bandwidth overflow if you worked in a format like 4k, would require about 1.5 GB / s-for user- capacity to make your operation.

This bandwidth is the minimum that must sustain independent of it to work in RAW "raw" (Arri, Phantom, Red, DNG) format system to sustain a playback for the card and the software can process all the information on these formats. The larger is the format, larger must be the performance and storage accordingly. If these chains would process their products in 4K without compression, should be multiplied by four the number of chassis for each system and thus provide bandwidth minimum transmission required for each station and able to handle this format, or reduce the number of users for existing chassis and thus balance the equation.

When we design a production in HD, there are a lot of formats in which stand each for recording (ProRes, avi, raw, h.264, DNxHD 220, others), we have many editing software on the market on which work them, I will name only four references known to many; Avid MC, Final X, Sony Vegas and Adobe Premiere and have any of these professional editors in a room standard edition, a computer that has good processor, large RAM, good video accelerator card card good audio is required, system disks good speed and, finally, "powerful", which has a disk array that supports the format for playback of the material as such as it brought.

For each of these formats, the machine requires certain specifications that can not be ignored, otherwise it simply can not handle within the editor and will have to, if necessary, manipulate the original file sacrificing quality in color and resolution . Ideally, keep the format in which they are working from home and supporting the deliveries or deliverables that asks the customer or end user.

In short, it is very important to determine what searches the recording from the post-production, knowing in advance how they want to handle, what is to be done with this material, where you plan to edit, how machines account all possible details of the post-production to who or who they are going to handle, do not be fooled or fool others, or spend money inoficiosamente.

To you, sir producer, I ask: what is going to roll in 4K if it will end in HD? Unless you want to do a Masters in 4K and from there extract the deliveries necessary, according to the negotiation which has been reached or claim scenarios or screens you want to get your audiovisual material, but this is costly infrastructure level, keep this in mind at all times. 4k that roll in and ends in DNX HD 220 is not 4K, this really is an issue that concerns them to producers.

I want to submit for consideration a procedure that could guarantee the quality of work that is being done and what the client demands, I clarify, this is not the formula of the most popular soft drink and do not mean that some or many they are not implemented, I just share with you my research on the subject. Currently plays a very important role Off-Line / On-Line Edition and the differentiation between them may disappear when the digital edition covers all areas of the audiovisual production; We define these terms.

In the online edition of the original material it is used in all stages of the process while for off-line editing, a copy of the original material is made and used in post-production as a guide, and then create the final version (On-line).

If the producer after making his Field Recording (recording field) in 4K, takes the material and downloaded to your Data Center or centralized storage, the Media Access Manager sees the Watch Folder and immediately becomes DNX HD 220 MB / sy once the conversion is complete, the original material is deposited on the LTO tapes (Linear tape-Open) by assigning the copy to the editors work within the NEXIS or any other system with the company.

In a talk with Andrés Muñoz, Senior Editor certificate SGO Mistika and Senior User Avid MC, Maestro Jorge Ali Triana (almost 20 years ago) he said his dream was to work with three separate chambers, in order to have all reactions actors at all times. This translates to present, for each scene three recordings are generated from three different angles, and these are repeated in three different planes (wide shots, medium and closed), which gives us a total of nine track video in post-production.

This material receives the first editor and synchronized with the count, remember that most times there MultiTC (Time Code), then makes a multi camera giving a temporary strikeouts to become backing, makes his play where you must mount the scene with existing layers, it is returned and corrects what must correct this with each shot. A conceptual editor gives the second pass of the material and makes it changes considered, giving play to 9 tracks with the ability to change what you want and at the end can be a finisher (finisher) makes the adjustments of rigor and make the final file.

Once the Off-line version has been approved by the principal and others, called File Edit Decision List (EDL) or List Edit Decision, to move to a team of high-quality editing, preferably self manage 4K where they will join (conform) the final on-line version. In this part of the process, transitions, special effects, color correction, audio synchronization, etc. They are executed in the on-line editor. This process is known as forming, which could talk later.

Malpractices of some production houses or some producers - not to do because this should have led graben on 4K, take these files and convert HD so that they can work on their workstations that do not support flow 4k , from editing and other jobs that require, then take the file created by the editor on HD and export with a program to 4K. This gentlemen is in no way 4K.

I also find that in the market, there are teams set to upconvert real terrestrial systems or satellite transmitters time, logically I can not pretend to give play to a whole 4K programming for upload to satellite ... unthinkable!

However, some give them uses that should not be, I mean, do not take 4K media files data on camera but captured directly (baseband) in a portable recorder, and become thus your files, losing all the picture quality, with its attendant problems. Bad for them, so I just ask you to think you want to do and how to be your production process, seen from the post-production.

* Luis Pinto is an advisor to the magazine TVyVideo + Radio.

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