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While cameras, formats, codecs, and resolution seem to change on a monthly basis, there are only a handful of options for a post-production editorial solution. Producers need to make decisions based on how flexible and extendable the system can be to meet not only the creative needs of the project, but also the overall deliverables for today’s world of multichannel distribution.
The workflows described in this document will focus on three popular camera formats:
1. RED Digital Cinema Cameras (EPIC and SCARLET)
2. ARRI ALEXA
3. Blackmagic Cinema Camera
While some of the processes will be common across these cameras, they each have unique features that need to be understood and considered to form a proper post-production plan. One consideration is the treatment of audio, as it is common to whatever camera is chosen for picture.
For more information, visit: http://www.avid.com/mediacomposer