[Tig] commercial workflow, finish in the US
jfmann at optonline.net
Thu Jun 7 16:30:57 BST 2007
Yes, of course some commercials here in NY are done via a scanning work
flow. The dailies are still done the conventional way. Then the night before
the finial color correction the client submits his Neg along with his/her
EDL. A copy of the EDL is made, the dissolves are removed and the list is
converted to "C' mode. Handles are added, these are normally generous- 10 to
15 sec. If some shots are close together they may manually be combined to
one event. This EDL now becomes your "Ingest EDL"
The film is then scanned Full aperture (Academy or S-35 no matter). 2K log.
These days it is not a challenge to scan at or near 24fps.
Once all the scanning is complete, here in NY a Virtual telecine is used
with the daVinci 2K+. The spot is conformed to "A" Mode and corrected in
context. And this is where the down rez takes place.
Sure the client's had to pay for the scanning time the night before the
session, but that's Ok. Now they can sit and see the spot corrected in
context and have instant gratification. There are not any in-session reel
changes to disrupt the creative flow. The film does not pick up any dirt.
Alternate versions can be created at will. XYZ repos, no problem. Correction
technique can be switched mid stream from "A' mode to "C" freely. All with
little or no render time.
At NAB_2007 this is pretty much the workflow we (daVinci and I) where
advocating with Splice. Disclaimer below.
Once the spot is corrected it is Un-conformed and played out in "C" mode
(with source TC) to tape (HD or SD).(sometimes the Ingest list is used for
export) This tape then goes to the edit for the finial conform, fx, titles
I know in Europe houses have a scanning workflow but substituting a Software
based system in lieu of the VT and daVinci.
Disclaimer: I have been a paid demo artist for daVinci. I cash their checks
and allow their salesmen to support my personal BRRE research.
New York City, USA
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