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Dust to Glory – Case Study

Dust to Glory – Case Study. Documentary on the Baja 1000 www.d2gfilm.com IFC April 2005 Project Details Multiple Production Formats: MiniDV 30i, DVCam 30i, Panasonic DVX100 24p HDCAM 24p, S16 & 35mm Titling, Dusting, Coloring Output to Film, D5 & WM9. Project Workflow. Workflow

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Dust to Glory – Case Study

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  1. Dust to Glory – Case Study • Documentary on the Baja 1000 • www.d2gfilm.com • IFC April 2005 • Project Details • Multiple Production Formats: • MiniDV 30i, DVCam 30i, Panasonic DVX100 24p • HDCAM 24p, S16 & 35mm • Titling, Dusting, Coloring • Output to Film, D5 & WM9.

  2. Project Workflow • Workflow • Offline SD on an Avid – Express DV • Audio goes OMF to Pro Tools • Online HD in Premiere Pro 1.5 & After Effects 6.5 • Export to QuBit for D5 & Film Out with Laser Pacific • Goals/Objectives • Mix formats and Frame Rates in HD Online/Desktop Finish • Color Correction, Titling, Dust & Scratch Removal and Effects Work in HD 10-Bit 4:2:2 resolution. • Export to QuBit (Wavelet) for Film Out & D5 Master. • Export to WM9 file for Digital Projection • Export to DVD for Dailies and Screeners

  3. System BOXX Technologies HD[pro]RT w/ Premiere Pro 1.5 – AMD DUAL OPTERON QuBit Drive. (10bit 4:2:2) AJA – XENA HD/SDI - I/O + Genlock & 6 Channel AES/EBU I/O 1.5 TB of Raid 5 Storage & 3 GB DDR Memory Samsung SyncMaster 243T Online assemble Film Exists in 20 Minute reels. CMX3600 EDL imported into Premiere Pro with DV guide track. HDCAM content is captured into Premiere Pro from TC in EDL. 30i(DV) Panasonic 24pa content consolidated for each reel then transferred to HDCAM using a Terranex box. 4:3 version for Television and PPV. Second pass of Pan and Scan to 16x9 for Theatrical. S16 & 35MM film telecine’d (Best light) directly to QuBit (10bit 4:2:2 Wavelet), then captured into Premiere Pro System. Capture Using BOXX RT system – CineForm Compressed 1080p (23.976). Cut is re-built in Premiere Pro using the CineForm presets and picture is locked. Static titles are added using Premiere’s title designer. Initial Online completed Layoff Online to QuBit and ¾” dubs are made as locked picture guide tracks for the sound mix. Workflow – First Pass Online

  4. Workflow – Effects • System • BOXX Technologies HD[pro]RT running After Effects 6.5 – DUAL AMD OPTERON • AJA – XENA HD/SDI - I/O + Genlock & 6 Channel AES/EBU I/O • 1.5 TB of Raid 5 Storage & 3 GB DDR Memory • Sony HD Monitor: BVM-D24E1WU • External Waveform/Vecterscope Monitor • Dust Busting/Color Correction • Each reel of the Online edit from Premiere Pro is trimmed to include only the media in the final edit. The trimmed project is now a easily managed and can be moved to the effects system. • Each project is then opened within After Effects • Using the new Paint & Clone tools in After Effects, Dust and Scratch Removal is applied. • Color Correction Pass is done using Color Finesse in After Effects (32 bit float). • After Effects is RGB based, to compensate for this we turn on the Video Systems RGB settings within the CineForm exporter/importer. This puts true black at 16 and true white at 235 allowing protection of bright whites and dark blacks. Color Finesse has a Video Systems RGB mode. • Color Correction is complete and signed off on. • Titling • Animated Alpha Channel Titles are created in After Effects from Templates built by the title designer. • Visual Effects • Masks for Color Correction, if necessary. • Composite Shots & Additional Effects shots.

  5. Workflow – Exporting • Rendering • Final Color Corrected and Dust Busted AE compositions are rendered into single CineForm file for each reel. • Color Correction Files imported back into Premiere Pro replacing the online edit of individual clips. • Playout • A) Marry with Premiere Titles, Play out & layoff to QuBit • B) Turn off Title Tracks & Layoff to QuBit for Text-less pass. • C) Re-Export sequence into new single file of Color + Titles. • Film Out • QuBit is converted to Cineon file and printed to film with Arri Laser at Laser Pacific. • MAGIC. • Film is Printed with Optical audio track. • Digital Output • QuBit file is Xferred to D5 and married to 6 Channel Audio from the Sound Mix • Sample Digital converts the output to WM9. • WM9 1080p Data File for digital playback (Sundance Premiere) • DVD • Same Timeline Exported to MPEG 2 and WM9(SD & HD) for DVD Distribution.

  6. DI FORMAT - CineForm • CineForm Prospect HD • Supports all Flavors of HD within Premiere Pro. • Multi-stream real-time effects • Transitions, titles, color correction & 2D • Import/Export Support with Premiere Pro & After Effects plugins. • Processor Based Playback, Hardware independent. • Constant Quality as opposed to Constant Bit Rate. • JPEG2000 Comparison – More focus of Encode/Decode performance as opposed to file size. • Temporal Compression - wavelet plus a new temporal compression results in files up to half the size of competing solutions (for the same quality). • With 1.5 TB system can store between 30 & 50 Hours of HD Material. • Scalable Compression values for Low, Medium & High Quality.

  7. DI FORMAT – CineForm • COMPRESSION OVERVIEW • Wavelet with short GOP (group of pictures) based on a mathematically lossless transform. • 10bit I/O with 16bit internal precision per channel • Native 4:2:2 YUV Support. • Constant Quality (bit rate ranges from 80Mbs to 200+Mbs). • AVI wrapped for the widest range of PC tools support. • Support for DirectShow and VideoForWindows engines. • I/O Formats: v210 (10bit YUV), YUV2, RGB24 & RGB32. • RGB is supported in Video Systems and Computer Graphics Ranges • YUV is supported in BT.601 and BT.709 • 16bit per channel supported through custom After Effects and Premiere Pro Plug-ins (Prospect HD). • Unlimited encoding/editing resolutions (tested up to 4096x2160 @ 24p) • 15+ Generations w/o visible loss. • CineForm White Paper: • www.cineform.com/technology/NewWorkflowWhitePaper.pdf • CineForm Quality Analysis/DVCPro HD Comparison: • http://www.cineform.com/technology/quality.htm

  8. Workflow – Milestones • Test Screening - NRG • Within 3 weeks of the start of the online we delivered an HDCAM version of the film with 90% of all the picture elements in HD resolution. • Theatre Industry Screening • Delivered a QuBit layoff of the film for an industry screening that was projected digitally. • DVD Screeners • At any point during the editing we could burn a DVD of the timeline. • Sundance, IFC, Promotional Tidbits. • WM9 • Export short clips from original sequences for Panels and demos.

  9. Adobe Premiere Pro, After Effects • Online HD editing in Premiere Pro 1.5 • Powerful After Effects workflow integration • Direct export to WMV HD • CineForm Prospect HD • Visually lossless compressed HD engine for Premiere Pro • 4:2:2, 8 & 10-bit, Up to 1920 x 1080/30p • Real time effects and multi stream playback • Enables online workflow with no intermediate proxy • Matrox HD • Realtime uncompressed on-line finishing quality, up to 1920x1080i/p • Realtime effects • Secondary color correction, keying, titling, speed changes, transitions, 3D DVE, and more • BOXX HD [pro] RT • Integrated real-time, multi-stream desktop HD system • HD-SDI and HDV capture, 8-10 bit • 2.4 TB of RAID5 PC Solutions – Desktop HD

  10. Range of Desktop HD PC Solutions • Formats • HDV via 1394 • 10 bit 4:2:2 via HD-SDI • Uncompressed • Mathematically lossless • Visually lossless • Effects • Cuts-only • Multi-stream real-time effects • Transitions, titles, color correction, 2D, 3D, etc. • Host-only, card-only, host and card

  11. Links and Contact • Adobe Desktop HD – www.desktophd.com • Dust to Glory – www.d2gfilm.com • Release IFC April 2005 • Jacob Rosenberg – jacob@formikafilms.com • www.cineform.com • www.boxxtech.com • www.colorfinesse.com

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