Workflow Question for Color Correction

S

SPZ

Veteran
Here's my problem: I'm currently in Post-production of a TV Spot entirely shot in 1080p25. I want to have the best quality possible in post, where I want to do some CC and also keying. This is for a FIreworks TV Spot that will be broadcast in SD troughout Asia.

What do you guys suggest I should do? Do post in dvcprohd? Go to a Big post production facility and work in HD 10bit uncompressed? Or simply downrez the footage to 8 bit sd uncompressed and do all the Keying and CC there? Actually, wouldn't it be better if I worked CC and Keying in SD resolution, since I would be working in native SD colorspace (and it would be an easier key?)?

Anyway, please help, since this is very urgent and I need to have this figured out by Thursday!
 
Hi.

I've been looking into just this kind of thing for the past two weeks. Obviously option 2: "Go to a Big post production facility and work in HD 10bit uncompressed" would be the best possible solution, assuming the operator of the facility is up to scratch, but it would also cost a bit.

For all the other options I have to assume you have an edit suite of some variety.

What platform and edit system - software/hardware - you have, makes the choices a bit different. If you are using Premiere I would use the CineForm intermediate codec in either 8 or 10 bit depending on your budget or what you already have. If you are on an Avid Xpress Pro or similar I would transfer into the DNxHD 185x codec which is 10bit, you might be able to get away with the 8bit version but it's not worth it. If you are on Final Cut Pro I would do a rough cuts only edit in the DVC PRO 108025p codec you have recorded in then I would transfer it to a 10bit uncompressed SD sequence for the CC and FX. You suggested using an 8bit downrez in your post but it's not worth it; 10bit SD is 1.62g storage per minute and a 27 meg per second transfer, 8bit SD is 1.44g storage and 24 meg per second transfer. Both can be worked off standard 7200rpm internal drives.

Without more info that's about all I can suggest.

Thanks.
 
peter orland said:
Hi.

I've been looking into just this kind of thing for the past two weeks. Obviously option 2: "Go to a Big post production facility and work in HD 10bit uncompressed" would be the best possible solution, assuming the operator of the facility is up to scratch, but it would also cost a bit.

For all the other options I have to assume you have an edit suite of some variety.

What platform and edit system - software/hardware - you have, makes the choices a bit different. If you are using Premiere I would use the CineForm intermediate codec in either 8 or 10 bit depending on your budget or what you already have. If you are on an Avid Xpress Pro or similar I would transfer into the DNxHD 185x codec which is 10bit, you might be able to get away with the 8bit version but it's not worth it. If you are on Final Cut Pro I would do a rough cuts only edit in the DVC PRO 108025p codec you have recorded in then I would transfer it to a 10bit uncompressed SD sequence for the CC and FX. You suggested using an 8bit downrez in your post but it's not worth it; 10bit SD is 1.62g storage per minute and a 27 meg per second transfer, 8bit SD is 1.44g storage and 24 meg per second transfer. Both can be worked off standard 7200rpm internal drives.

Without more info that's about all I can suggest.

Thanks.
Click to expand...

Peter, Thanks a lot for your response. If not outsourcing, I'll be editing in a FCP editing suite, with FCStudio 5.04 installed. This is a g5 dual 2.7 with 3gb RAM.

Actually, I did do a rough cut in dvcprohd 1080p25. You suggest, then to transport this rough cut (with only basic dissolves and cuts) to 10bit uncompressed. What do you suggest for final output? Maybe dvcpro 50 4:2:2 to the HVX (trough firewire?)

Once again, Peter, thanks for the quick and informative response. Much appreciated :)

SPZ
 
SPZ said:
What do you suggest for final output? Maybe dvcpro 50 4:2:2 to the HVX (trough firewire?)
SPZ
Click to expand...

Once again it depends on what you have at your disposal , or more importantly, what format the client wants. If you don't have an output card of some sort then DVC Pro 50 4:2:2 is an excellent choice through firewire as long as they have a deck at the other end. If they don't, then you may have to find a way of transferring to Digi Beta, which I still think is the best standard def format at the moment, as they are bound to have, or can access a player. At worst, DV Cam.

Thanks.
 
Peter, how do you suggest I convert the DVCpro HD files to 10 bit uncompressed sd? Trough compressor or Media Manager? Will I lose anything?

The thing is, I'll most certainly need to output in a post house to beta digital and most definetly Beta SP, since it is still the norm over here. What happens if I take a 10 bit uncompressed 4:2:2 Quicktime to an Avid Simphony workstation: it won't play it, right?
 
Personally I wouldn't use compressor while I'm still working in the timeline. Media manager is fine or just lay your DVCPRO HD project into a new SD Uncompressed sequence then render. As far as quality loss is concerned it will always look different once it is standard def - that's the way it is - if you have to screen it at standard def there is nothing you can do about it. As you are transferring 1080 25p over 50i you will have to play with the field dominance settings in the sequence presets, I'm testing that at the moment and I might post my own question on the board in regard to that.

At least you won't get further degradation with the colour correct at 10bit.

Regarding the outputting to digi or betacam, if you are using a post house it is probably better for you to ask them for any specifics. And this is from Avid regarding Media Composer...

"Adrenaline-based systems support playback and processing for Meridien, ABVB media (AVRs), DV25, DVCPRO 50, MPEG IMX 30/40/50, 8/10 Bit uncompressed SD & HD, compressed JFIF media, and Avid DNxHD. With the exception of AVRs, Adrenaline based systems also support capture of these formats as well. Media Composer Adrenaline is open to the past and is a bridge to the future."
 
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