![]() – A single, standard frame rate that matches the project’s base frame-rate. – Proper timecode that does not repeat within a single clip. – Unique file names that match between low and high-res media (extensions are usually not important). You must be able to relink the same media between systems or between low and high-res media on the same or different systems. Despite the ability of most modern NLEs to freely mix and match formats, sizes, frame rates, etc., ignoring certain criteria will break media relinking. Whether or not it works well depends on the ability to accurately relink media with each of these moves. The reasons vary, but typically it’s a matter of storage size, system performance, or the capabilities of the systems and operator/artist running the finishing/full-res (aka “online”) system.Īll of this requires moving media around among drives, systems, locations, and facilities, thus making correct list management essential. This is now generally referred to as proxy versus full-resolution editing. File-based camera acquisition has brought down operating cost, but the proliferation of formats and ever-increasing resolutions have meant that there is still a need for such a two-stage approach. Eventually storage could cost-effectively handle high-res media, but this didn’t eliminate these workflows. ![]() In the early nonlinear days, storage capacities were low and hard drives expensive, so this offline/online methodology persisted. The inherent constraints of tape formats forced consistency in media standards and frame rates. ![]() The locked cut was assembled and enhanced with effects and graphics in a high-end online suite using an edit decision list and the high-res media. During the linear editing era high-res media on tape was transferred to a low-res tape format, like 3/4″, for creative editing (offline). To accommodate, post-production adopted a two-stage solution: work print editing + negative conform for film, offline/online editing for video. Prior to file-based camera capture, film and then videotape were the dominant visual acquisition technologies. ![]()
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