POST PRODUCTION WORKFLOW

POST PRODUCTION WORKFLOW

PICTUR£
BACKUP TRANgCODING
S!HOOTING High Re, to lo., Re6
Clj)!sNng AIOdio-Vr1,..J Prct0<tloo of captured dat.,
olffllfn1- n Ptf <KJipl I 5lory . _119 Resolove I Encore
Hard Drives/ Server
HD 2K 4K

PICTURE
gouNo
CONFORMATION DESIGNING & MIXING

•
A..conn•d "°uJ>d clips, Clcanl~g.

Resolve I Baselight -i IO•~- fAnc-mbly I final Cul

Avid I Premiere I FCP j
EQ. Ocstenlng. Folley, Sh, flll,lng

ProTool I Audition

COLOR GRADING COMPUTER GRAPHtag

CcwrtcllOna In color All!nulfon, K<tylng
Sbol lllltcb. Et~e, Co<itrol ~rly Image~ Tt11t etc
Resolve I Baselight After Effect I Photoshop

DELIVERABLES
MAgTERING &ARCHIVING
c....-.a... o1 111 u..1..i . . . . S..b!Jfk s,
. . . . . . . . . IIUNd lrlU •..S .,_ju Pft pkdac
DCP
Resolve I Baselight DVD/ Bluray
Avid I Premiere f FCP Broadcast. LTO Tapes
Cllpster Web slrt>oming etc
0 ~
o ITIDIT¤®
0 ~ ~ @in
0
0 (R;lw}ffi:i©~~•liill
0 :... '_!. ·/
- ~- - ,, -

0 Co - · odm aacast §me

0
,Ku • ·a ,.L~ -_:,~ .-~ ntaine
·- :t
-~
'. "'
i eo · eso ution -
.

0
- -I

0 ~ectRa~~ i, . · - . · -~.
0 Non Lmear...VideoJ diting,softwares'
0 r-\j~ : 1 : ~ •
 BIT DEPTH CALCULATION
. ,1,-..,,-.
I... -
.
---
r•
.-
• -

Color
2 colors
1 bit 2 2 (2x2)
4 colors
2 bit 23 (2x2X2)
3 bit
8 colors
2 4 (2X2X2X2)
4 bit 16 colors
2s (2X2X2X2X2)
S bit 32 colors
2 6 (2X2X2X2X2X2)
6 bit 64 colors
128 colors
2 7 ( 2X2X2X2X2X2X2)
7 bit
256 colors 2 8 (2X2X2X2X2X2X2X2)
8 bit
65,536 colors 216

16,777,21 colors 232

 DEPTH color possib ility

8 Bit 10 Bit 12 Bit

Possible shade values per channel
Possible shade values per channel
Pos)1u,c .)11au1; ,u,u~J .,~, 1e1
..~···
4,096 X4,096 X 4,096
256 X 256 256 1,024 X1,024 X1,024
R @)
X

R@ B R Gl B B
I'

16,777,216 1,073,741,824 Over 68 Billion

Possible Colors Possible Colors Possible Colors
 BIT RATE / DATA RATE
du rin g tra ns fe r of in f
is the amount of data flow per second

4K AND BEYOND DA TA RATES at 24 fps

GB /HOUR
DATA RATE
CAMERA/CODEC 45 GB/hour
100 Mbps 68 GB/hour
Panasonic GH4 4K 151 Mbps
RED 4K FF (6:1)
70 GB/hour
155 Mbps 148 GB/hour
ProRes 422 proxy 4K 330 Mpbs
XAVC4K 150 GB/hour
332 Mbps 180GB/hour
KineMINI 4K crnemaDNG 400Mbps
# AVC-Uttra 4K 225 GB/hour
500 Mbps
Canon 1DC MJPEG 4K 226 GB/hour
503 Mbps
ProRes 422 4K 302GB/hour
672 Mbps
KJneMAX 6K ClnemaDNG 339GB/hour
754Mbps
ProRes 422 HQ 4K 450 GB/hour
1.0 Gb/s
Sony F5/55 Raw 4K 509 Gb/hour
ProRes 4444 4K 1.1 Gb/s
1.4 Gb/s 630GB/hour
BlackMaglo 4K 630 GB/hour
RED 6K WS (4:1) 1.4 Gb/s
1.7 Gb/s 764 GB/hour
ProRes 4444 XQ 4K
2.0 Gb/s 900 GB/hour
Sony F65 RAW (S:1) 4K
ProRes 4444 XQ SK 2.1 Gb/s 955GB/hour
Canon Raw 4K (12-btt) 2.3 Gb/s 1036 GB/hour
Phantom Flex 4K Raw 3.5 Gb/s 1500 Gb/hour
 ·.
i --- "

I
- '
~T.
-
. .· .
n .t.
[(Jt
•
_ ..

ii .. -ital llllrfo!!I~ . ,ch ingest audio ~r video 'teeds.'. • .I . ata a r.e att . eel
ttl MtJ:.\l\g[t ru~r•1-:lmfm • • inform9.~iOn of timecode, localization, iak~-.n~,
I
.e
·• ,. .
ru, tmOOlil;1 I~ tru• f•t;"tt!i &• idl4iu...~iw~ -- '

manyal!Y. ingest players names, characters,~{ ;

rnJti)~tfil¥it•f•Mm~ [!ID ~~ L~

,'
i"' '
Mt."fJd.lliJ

• Rename:F:~_1420..MOV
• Date: 06/25/20W
• Video size: 1920x1080
· Fie stze: 39.0 Mb
l~tWJ•?ffit:l. m i ~ files fro·m offline • Frametate: 23.98 p
• Bitrate: 47,21 mbps
,ux:r• • fl'!) r:,jfflffi} (ufil!.lJ •,. Meradata _also used to • FooMt: ~2:0 Proges5tie
• [)ration: 00~06
· Start timecode: 22:46:43
• Ao<fio chonnels: 2
meliae from·o ,itihg software
. ~- .. • Audio~ rate: 'i8000
•Audio bits per sanpe: 16
- latfprm. . itor must be • Camera Model: Canon EOS 70
• F llu'rlber: FO.O
l·.•,;-; -. -, . . . • Exposure Ti'ne: Osec
. deo · footage from • ISO Speed: Auto ISO
• 'Mite Balaoce Auto ~nte balaric:e

s ·mefadata'.could ~be ,.- • F0CZ!I Length: 85,0 rrm

I

- ., - I

i1ed.
I

[ OK
~'4
~"~-~-~
. f .
 : ·.-- ".,'IT',- -- - . -r 1- -&

disp lays
at which an imag ing devi ce hies, and
i and video earn er '

· · · -- - -
I-
mouu r, "'ut'""'' - -, ---- - ·

Early silent films had stated frame .rates

anywhere from 16 to 24 frames per~second. .
1 1
" • 10 FPS

15 FPS
From 1927 to 1930, as various studios updated
equipment, the rate of 24 FPS became standard
for 35mm sound film.
11 30FPS
Modem video formats utilize a variety of frame

.
rates. During the early days of TV, a number of
standards came about that governs how the
information is to be transmitted from the studio,
m....... i : •• .. . · 45 FPS
to the homes of the viewers. Three eventually
came out; NTSC, PAL, and SECAM which support
frame rate 29.97 Hz, 625 lines / 25 Hz, 525 lines /
~11~m11m111m11im · · 1 GO FPS
25 Hi?, 525 lines respectively. [ ·., · - - • 1 seco nd duration • - -- • - - ]
 I ~ -- -- J --- ..-- - --

VIDEO f i e l d
•_ " -- .
... -' .·
----- I
• _. - ~--
J..'

·:·<:_.·:-
ling the pe rceived fra m e ra te of a vid eo di sp la y wi th
doub
INTERLACED VIDEO is a technique for ins two fie lds of a vid eo fra m e ca pt ur ed at
ed signal co nta
consuming extra bandwidth. The interlac
different times.
sc an nin g) is a wa y of di sp la yi ng , st or in g,
laced
PROG~E~SIVE ~CA~NING (non-inter ch fra m e are dr aw n in se qu en ce .
all the lines of ea
transm1tt1ng moving images in which
INTERLACED VIDEO
PROGRESSIVE SCANNING

9
11
- --=-- -~ •-pe rfle ~
·up

t
I

\ \

\ ...-
 ' ' ,.'.,":;:r1CASTING
. ._ ,~ Regiqn§tem
·.1
r-
l
I
f
t

•
fijsc REGIONS s PAL bu
, te: 5 per
REGIONS
AJ-1,REGIONS

·---- - - . -
 • e. c·9J,µ_g!· -ioadca . :..' ' . I!

.Modern vid8~ f~rmgts a ,Y.9!.i~ty of frar:,ne rates. oue t~ .the mains f_requencY:~f el8cttic ,gri~~
television broadca~ \\I01 developed'with frame rates of 50Hz or 60Hz, as it depends .2n :the co~ptrY.' - .
supply system. -

•·· NTSC (National Television standards committee) is the oldest existing standard, developed \n tli~ US;b; .anti
:...• first used in 1954. It's parameters are as follows: Lines: 625 / Frame rate: 29.97 per second / Re_fresh Rate: 60 Hz

P~L (Phase Alternating_ Line) was developed in 1967 by the United Kingdom & Germany. PAL stalldarcl utilizes a
~de~ channel bandwidth than NTSC which allows for better picture quality. It's Parameters ar8"aS 1 l oliows·
lines. 525 / Frame rate: 25 per second / Refresh Rate: 50 Hz ):
'.:,1,\1 ttku.s ·. _• :it
::·'
.. .
· 1·
· ;--·. •

SECAM alsa written s£KAM which Is French ron · · 091 . . .

analogue color television system first used i~ Fra~~:~~~A~rench th
for "Sequ!'!Dtlgl
nd <? -n
. ~he color Information sequential! Its Param t · · uses e same ba wldtti 't
"efresh'..~ Rate·. '.Hz . -..-.... _ _ . . 525 .l Frame
e ers .are as follows: Lines: . ·ra· • ear secOncl' sZ
· - ·-· · ~-
50
 Pago 24 of ig'

DIGITAL VIDEO FORMAT I CONTAINER &

CODEC I COMPRESSOR
Video container or Video format represent a huge group of file types that contain digitally capturing,
0nd
recording, processing, storing, transmitting, and reconstructing a sequence of still images etc.
representing scenes in motion, often together with an audio track (sound, music, etc.).
 Page23of 39

DIGITAL VIDEO FORMAT I CONTAINER &

CODEC I COMPRESSOR
Video container or Video format represent a huge group of file types that contain digitally capturing,
storing, transmitting, and reconstructing a sequence of still images etc. a nd
recording, processing,
representing scenes in motion, often together with an audio track (sound, music, etc.) .

CODEC
/ H.264, H.265

CONTAINER • coN'fAINER
MP4,r,1t'fY, NII
 COMPRESSOR/ CODEC TEMPORAL COMPRE
SSION
SIO N (INTER-FRAME>
SPATIAL COMP(INRTREA-S-FRAMEl
SEQUENCE OF FRAMES R edundancy
INDNEUAL- VIDEO FRAME Principle o f Reducing
Chroma Subsampling

.-.,.iillMf&t'Mi
a 1a Pa Pa i: >a 1
H.264
Ap pl e Pr o Res Xvfd
DV25 PAL YP9
A'Vid DNX Cf ne pa k
XDCam
MKV.etc
rao. liac......,...npg.etc
...
lle d
QUALI1Y can be cont ro
Q m lit y h Pre Deftned
ADVA1\'TAGE
ADVAI\TAGm- E - Need Jess spaoe on drive
G oo db .
aa a,wcoo§igu t«i sy ste B es tb ~ g o oth w eb • ng
ea itm ge ,m .file m.e ~l rm<.... "'-, •
>l",•; - V1• JC'Wt
l..ow on - ,i-
_,f
.,.,- ttA
Om be used fee An :h i.a
g- • 6
~ am tr m 12araswded _
as Colar ax:rcdJOB if me
me me d re.- fim! o:zq,aL
DISADVANTAGE
DISAD\'A.NTAGE N o t~ for cx.,lo,r c:ollt on
di
_....c fcc- J~cg &aratioo oii.ti.ng FOJect
-
Need IDOIC space Oil d; ne
- ..._d
No t.,.
Nee ~ k.
1X> run ~
Gli bigmi be c coofignred um g e pr e~ ",. _" "" '". ,
lcbes gbt come m.
th
 GEABLE FORMATS
. INTERC . sferring the audio & video edit timeline
Interchangeable formats are special file codes which are used for tran ly acceptable by multiple software.
from one sottware to another soitware. These formats are common
There are many interchangeable formats available in many sottware which are commonly
acceptable across other software.
a EDL : "Edit Decision List" which has information of each and every information of time code of every cut •
But it hos no ability to carry more than one video track timecode information and any other effect
information. It is used to send the project from one sottware to another software.

a XML : ·extensible Ma~p _Language· i~ same ~s EDL to keep information of timecode of every cut in edit.
The advantage of XML is, it has all the information of cut from all the multiple layers as well as the effects.

a ~~~~-~~~?a~::::nam MF) is a pla~or~-lndependent file format intended for transfer of digital

ework"t (Oftw
d_ff
1 eren so are apphcat1ons.

a post-production Authoring
AAF :•Advanced and Forma~:
authoring (AAF) is a p rofess1onal
environment. · file ·
· interchange format designed for the video

a mu~timedia
AFE : •Avid file exchange• (AFE) file is an ·
information like video and audio ~~;~ni:!i1•:e exchange F~rmat file. It contains complex
proJect , as metadata information for th a t content and