Latest post Mon, Sep 12 2011 6:18 PM by Jayanta. 2 replies.
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  • Fri, Aug 26 2011 6:10 PM

    Avid DS Television Workflow

    There are several posts here and elsewhere from people trying to push AAFs and Avid media through color systems and back. Some have it working, many do not; the potential pitfalls, headaches and drawbacks of it are well documented.

    Since 2009, we have been using a different method that I think is simple and robust. I recently posted it on the Google DS-List, and at the urging of a certain DS product champion friend who shall remain nameless, here it is:

    We finish TV from RED (and any other file or tape format) using DS and either a DaVinci or Nucoda color system using TerraBlock shared storage.

    Conform from R3D (or whatever else) in DS.  Write a DPX sequence to storage shared by colorist, along with folders containing .wav audio and an EDL.  Colorist uses the DPX sequence as source, imports audio for local playback, EDL for edit points, and colors the show.  Colorist writes a new colored DPX sequence to another storage shared by DS.  DS links to the colored DPX, which play in real time (with no waiting for the link as of v10.5).

    Just add the linked colored DPX clip to an upper track in your DS timeline - above the conformed dailies but below the titles, etc.  Add final titles, dirt fix, dead pixel cleanup, etc., render whatever is necessary and play out to tape for final delivery master.

    This gives you tremendous flexibility in accomodating VFX drop-ins or completing your own VFX on DS... just insert the new stuff into your DPX sequence and the colorist's source is instantly updated.  I give the colorist 'Drop-In' EDLs as we go so he knows what shots have changed.

    Mastering to DPX also means you can use the files immediately in an Inferno, Flame, Clipster, DRS and many other standard tools commonly found in post production facilities without doing file conversions.

    This method works with DaVinci and Nucoda, and probably works with any color system that can read DPX real-time.  I am going to set this up with a baselight in a week or so.

    It's a fast, clean workflow and lets the colorist concentrate on coloring without having to worry about anything else. Occasionally, we also output additional shots with handles in case there is a super-long dissolve, so that the colorist can have those bits separately.  Last season on 'House' I think I had to do that maybe four times.


  • Fri, Aug 26 2011 6:20 PM In reply to

    Re: Avid DS Television Workflow

    Derek, thanks.

    Symphony 8.8.x w/Avid Nitris DX, HP z420, Windows 10, QT v7.7.x, Hexa Core 3.2GHz, 16GB RAM, nVidia Quadro Series 2000 w/353.82. 2TB Boot, 2 x 3TB internal... [view my complete system specs]

    "There are few technological barriers.  You can fix almost anything if you throw enough money at it."
    Randall L. Rike, ACI, ACSR Mac*Win*Unity*ISIS*DS
    Systems Engineer @ BET Networks [a Viacom company]

  • Mon, Sep 12 2011 6:18 PM In reply to

    • Jayanta
    • Top 75 Contributor
    • Joined on Fri, Jul 6 2007
    • India
    • Posts 1,504
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    Re: Avid DS Television Workflow


    All Sorts of System as I am a freelance Editor [view my complete system specs]

    "Out of mud the lovely Lotus Blooms, Out of Strife something higher vies "

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