A look into post production workflow management. Updated May, 2019 (v3 -

1. A LOOK INTO POST PRODUCTION
WORKFLOW MANAGEMENT
Utsab Bandopadhyay
4TH FEBRUARY, 2019 (V3 04-02-2019)
www.utsab.me
UTSAB BANDOPADHYAY 2019 ©

2. HISTORY OF CAMERA
Camera Obscura
Source – www.wikipedia.org

3. HISTORY OF CAMERA
Source – www.wikipedia.org

4. HISTORY OF MOTION PICTURE FROM
NEGATIVE TO PIXELS
• Edison’s Kinetoscope 1889 (USA)
• Lumiere Brother’s - Louis Lumière and his brother, Auguste Lumière, invented the
‘Cinematograph motion Picture camera’ as well as Autochrome color photography.
(France)
• Hollywood – Rise of studios and it became a motion picture hub from early 1900’s
(USA).
• Television – In 1927, Philo Taylor Farnsworth, 14 invented television and later when he
was 21 produced the first electronic television transmission.
Source – www.wikipedia.org

5. FILM FORMATS
• 8 MM
• 16 MM
• SUPER 16MM
• 35 MM (2,3,4 PERF)
• SUPER 35 MM
• 65 MM (IMAX)
SOURCE – MUKTA ARTS & WWIL LTD.

6. TELECINE PROCESS
VIVIAN PIMENTA (WWIL)

7. PHYSICAL INDEX OF FRAMES
• ATN log files from Aaton
• FLX (Film Log EDL Exchange, commonly known as FLEx) log files from
TLC (Time Logic Controller software)
• Film Transfer List (FTL) log files from Evertz
• Avid Log Exchange (ALE) files (not technically telecine logs, but contain
similar information for your database)

8. SOUND
• Sound is recorded on Nagra, Dat, Deva, Aaton Cantar,
Zoom recorder and other portable recording devices
are used for recording sound.
• EXAMPLE OF TRACKS AND CHANNELS
• MONO (1CH)
• STEREO (2 CH L/R)
• DOLBY (5.1, 7.1)
• DTS
• SDDS (TIMECODE BASED)
• DOLBY ATMOS
• NEAR FILED 5.1 & 2.0 (NEW)

9. SOUND RECORDER’S
• Deva recorder and Aaton Cantar can record @48 to 96 KHZ in WAV
format are used for sound recording at location.

10. DIGITAL TIMECODE DEVICES
FOR REPRESENTATION PURPOSE ONLY

11. MOTION PICTURE FROM NEGATIVE TO
PIXELS
FOR REPRESENTATION PURPOSE ONLY

12. DIGITAL CAMERA
Source – www.wikipedia.org

13. A LOOK INTO INDIAN TECHNOLOGICAL
ADVANCEMENT IN CINEMA
FOR REPRESENTATION PURPOSE ONLY

14. DIGITAL MOTION CAMERA’S 2019
FOR REPRESENTATION PURPOSE ONLY
ALEX LF
ALEX SXT W
ALEX MINI

15. DIGITAL CINEMA FRAME RATES
FRAME RATE:
The number of images showed in a sequence in a second to give the pictures the illusion of
movement. The measurement of frames in a second is called frames per second (FPS).
FRAME RATES
12fps,15fps,23.98fps,24fps,25fps,29.98fps,30fps,48fps,50fps,59.98fps,60fps, 100fps,120fps,240fps
-> 1000+ fps =>
SLOMO CAMERAS
PHANTOM FLEX4K WEISSCAM
FOR REPRESENTATION PURPOSE ONLY

16. SPECIAL CAMERA
• INFRARED (WILD LIFE, ARMED FORCES)
• MOTION CAPTURE CAMERA (LIVE ANIMATION/BIOMETRICS)
• THERMAL CAMERA (TEMPERATURE MONITORING)
• IMAGING SI-2K DIGITAL CINEMA CAMERA
• VIRTUAL REALITY SCANNER (3D MAPPING)
OTHER CAMERA
• IPHONE AND OTHER 4k MOBILE DEVICES (USING SOFWARES LIKE FILMIC PRO)
• HD/ 4k WEBCAM
• 360º CAMERAS LIKE INSTA 360 ONE, RICOH THETA ETC.
• OCULUS RIFT WITH KINECT

17. DIGITAL IMAGING TECHNICIAN
A DIT bridges the gap between
principal photography and editorial.

18. DIGITAL IMAGING TECHNICIAN
A job of a ‘Digital Imaging Technician’ is to set and decide workflow to
avoid conflicts when dealing with mixed formats from different digital
cameras and take secure backups and transcode for the editor to do
offline edits before the ‘Digital Intermediate’ process takes place so that
EDL's, XML and the VFX sequences and sound match with the offline edit
during the post production process till your content is distributed through
Digital Cinema Package (DCP). A ‘Digital Imaging Technician’ is generally
from post production background who is a editor who understands the
process of preproduction to post production and various other aspects of
film making which comes handy to guide different departments of a film
unit to achieve best from their art and breaking new grounds which
creates a feeling of 'Awe' in the minds of the audience.

19. THE ROLE OF A DIGITAL IMAGING
TECHNICIAN
• ▪ Finding out the right workflow from camera to offline editing.
▪ Backup of original camera file (OCF) from the cards with md5/hashxx64
checksum verification & spot checking that includes production audio.
▪ Onset technical problem solving of the issues that may arise on
primarily during principal photography and also post production.
▪ Generate dallies from the raw rushes for offline edit with metadata
intact with timecode with transcoding. Also, to standardise rushes from
different camera.
▪ Create data reports and keep the key members of the unit informed.

20. ROLES IN WORKFLOW MANAGEMENT
DURING POST PRODUCTION
• DATA MANAGEMENT TECH (DMT)/DATA MANAGER/DATA WRANGLER – A PERSON WHO
BACKUPS THE CAMERA DATA AND SECURELY VERFIIES THE CAMERA CARDS DATA.
• DIGITAL IMAGING TECHNICIAN (D.I.T) – A PERSON WHO SECURELY BACKUPS POST VISUAL QC THE
CAMERA CARD AND TRANSCODES RUSHES AND LET YOU KNOW IF ANY ISSUES ARISES ON LOCATION
OR DURING THE POST PRODUCTION PROCESS. MAY ALSO COLOUR GRADE AND GIVE OUT CDL’S,
LUT’S.
• WORKFLOW CONSULTANT OR POST PRODUCTION SUPERVISOR/ POST HEAD - ARE MASTER OF
EDITORIAL, SOUND, VISUAL EFFECTS & WORKFLOW MANAGEMENT TO MEET THE DEADLINES AND
POST PRODUCTION CHALLENGES.
• EDITOR – A EDITOR UNDERSTANDS HOW A CUT WORKS, WHICH DETERMINES THE RHYTHM AND
PACE OF THE VISUAL NARRATIVE OF A FILM.
• SOUND DESIGNER/MIXER - A SOUND DESIGNER UNDERSTANDS THE AURAL MEDIUM OF THE FILM.
HE CLEANS THE DIALOGUES AND ADDS EMOTIONS WITH MUSIC AND MAKES THE SCENES MORE
REALISTIC WITH FOELY, AMBIENCE WHICH MAKES PERFORMANCES AUTHENTIC.
• CONFIRMISTS: MAKE THE OFFLINE DATA ONLINE FOR VFX, ONLINE GRADING, OUTPUTS AND DOES A
VISUAL QC.
• COLORIST: GRADES THE RAW FOOTAGE WHICH SETS TH MOOD OF THE CONTENT.

21. RED WORKFLOW

22. ARRI WORKFLOW

23. SONY WORKFLOW

24. BLACKMAGIC WORKFLOW

25. DSLR/GO PRO WORKFLOW

26. DATA VISUALISATION

27. METADATA
META DATA – CONTAINS THE DIGITAL FILE INFORMATION OF THE DIGITAL FILE/CLIP.
META DATA CONTAINS
VIDEO CODEC, FRAME RATE, FRAME SIZE, TIMECODES, DURATION, CREATION DATE,
CREATOR DETAILS, COPYRIGHT INFORMATION, COLOR INFORMATION ETC.
EXAMPLES:
.MP3 AUDIO (MULTI PATENT HOLDERS)
.MOV APPLE PRO RES 4444 HQ CLIP (APPLE QUICK TIME)
.DOC (MICROSOFT OFFICE WORD)
.JPG (IMAGE)
.PSD (PHOTOSHOP DOCUMENT)
.XML (EXCHANE MARKUP LANGUAGE) ETC.
Every file format has a different type of information. All the file extension save ‘.’
followed by three characters as an extension.

28. RAW VS VIDEO CODEC
• RAW – UNCOMPRESSED LOSSLESS INFORMATION WITH MULTIPLE
EXPOSURE STORED AS IMAGE SEQUENCE .
.CIN, TIFF, TARGA, .DPX, EXR ETC.
• VIDEO CODEC – IT’S A LOSSY VIDEO COMPRESSOR IN RASTER FORM
THAT STORES INFORMATION IN A CONTAINER.
H.264, H.265 (4k), APPLE PRO RES, MP4 (WEB)

29. EDITING
• AVID MEDIA COMPOSER
• FINAL CUT PRO 7/10
• ADOBE PREMIERE PRO CC
• BLACK MAGIC DA VINCI RESOLVE LITE/STUDIO
• SONY VEGAS PRO
• APPLE I-MOVIE
• LIGHTWORKS
• WINDOWS MOVIE MAKER
• PINNACLE STUDIO
• NERO VISION
USED THE BRAND NAMES UNDER NON-COMMERCIAL PURPOSE.

30. LOG IMAGE
• LOG IMAGE IS A COLOR SPACE WHICH HELPS TO RETAIN THE MAXIMUM COLOR
GAMUT OF THE ORIGINAL EXPOSURE & LOOKS THROUGH META DATA.
• S-LOG
• C-LOG
• LOG - C
• RED COLOR 1-4 (IPP2)
• REC-709 – (SET BY THE DP)
• REC 2020
LOOK UP TABLE (LUT) – ARE MONITOR REFERENCE LOOKS SET ON CAMERA FOR REFERENCE THAT WILL BE USED
DURING DIGITAL ITERMEDIATE WHILE COLOR GRADING & ALSO FOR EDITORIAL REFERENCE.
SDR VS HDR – STANDARD OR HIGH DYNAMIC RANGE IS ALL ABOUT THE DETAILS. (MORE BIT DEPTH, COLOR AND
STOPS) WHERAS DOLBY VIOSN IS A STANDARD BY DOLBY.
HYBRID LOG-GAMMA (HLG) | HDR 10 | DOLBY VISION

31. LOG IMAGE
MILKY LOG IMAGE AFTER COLOR CORRECTION
IMAGE COURTESY- Amit Dhole 2015 ©

32. COLOR CORRECTION TOOLS
• Da Vinci Resolve
• Autodesk Smoke
• Quantel Pablo Rio
• Filmlight Baselight
• Digital Vision Nucoda
• Adobe Speed Grade
• Final Cut Pro X
• Apple Color
• Adobe Premiere Pro CC
USED THE BRAND NAMES UNDER NON-COMMERCIAL PURPOSE.

33. FILM WORKFLOW
PRINCIPAL PHOTOGRAPHY
SECURE BACKUP & TRANSCODE OF OCF
ON STORAGE DEVICE/RAID TOWER
OFFLINE EDITING
TITLING & VFX
SOUND EDITING
(ADR/BGM/FOELY/MIXING)
CONFORMING/COLOR CORRECTION (DI)
THEATRICAL RELEASE
(DCP WITH KDM/35 MM FILM/IMAX)
WEB RELEASE
QUICKTIME MOV/MXF/INTEROPERABLE MASTER FORMAT (IMF) FOR NETFLIX
THE WORKFLOW MAY VARY.

34. DIGITAL CINEMA PACKAGE (DCP)
• DCP – JPEG 2000 (J2K), JPEG STEREO (3D), MXF
• KDM – 128 bits encryption.
(Key Delivery Message)
• SOUND – DOLBY (5.1, 7.1, ATMOS)
IT/PROJECTIONIST REQUIRES THE FOLLOWING TO WORK:
CLIENT SERVER CERTIFICATE
PUBLIC SERVER CERTIFICATE
• SOFTWARE:
OPEN DCP, EASY DCP, DA VINCI RESOLVE WITH EASY DCP PLUGIN ETC.

35. TELEVISION WORKFLOW
PRINCIPAL PHOTOGRAPHY
TRANSFER FROM
PORTABLE STORAGE DEVICE
EDITING SOFTWARE OFFLINE/ONLINE
TITLING AND VFX
SOUND EDITING
(ADR/BGM/*FOELY/MIXING)
ONE LIGHT COLOR CORRECTION
(DI)
MASTERING FOR BROADCAST
RES’ OUTPUT ON HD 16:9 MFX/MP4 + SD 4:3 MPEG 2/4
DIGIBETA OR HD SR TAPE/DVD/H.264 OR H.264 OR H.265 4K OR IMF/MFX/QT FOR WEB
THE WORKFLOW MAY VARY.

36. TELEVSION BROADCAST SYSTEMS
• INTERLACE VS PROGRESSIVE SCAN
LINES. (ODD OR EVEN)
• BROADCAST SYSTEMS.
Image Source- http://www.hometheatersound.com/features/videonoise/vn_20010801.htm
Source – wikipedia.org

37. DVD - 0,1,2,3,4,5,6,7,8 BLU-RAY - A,B,C
OPTICAL DISC REGION CODES
SOURCE - http://www.regionfreedvd.net/region-codes.html
DVD/BLU-RAY DISC HAVE REGION CODES TO DETERMINE LOCAL PRICE STRUCTURE.

38. FUTURE TRENDS
• FEMTO-PHOTOGRAPHY
FEMTO-PHOTOGRAPHY IS A TERM USED TO DESCRIBE A TECHNIQUE FOR RECORDING THE PROPAGATION OF
ULTRA SHORT PULSES OF LIGHT THROUGH A SCENE AT A VERY HIGH SPEED. (wikipedia.org)
• ONLINE RENTAL AND PORTALS
NETFLIX, AMAZON PRIME VIDEO, HULU, VODAFONE PLAY, YOUTUBE, VIMEO, FACEBOOK
VIDEO, SONY LIV, ZEE 5, VOOT, JIO SPUUL, ETC.
• AUGMENTED REALITY (AR)
AFTER GAMING CONSOLES FROM 1972 WE ARE SHIFTING TOWARDS AR DEVICES LIKE
OCULUS RIFT, KINECT, CARDBOARD ETC.

39. CONTACT DETAILS
UTSAB BANDOPADHYAY
POST PRODUCTION
WORKFLOW CONSULTANT &
DIGITAL IMAGING TECHNICIAN
cinema@utsab.me
www.utsab.me
UTSAB BANDOPADHYAY 2019 ©
IMAGES COURTESY OF PICKIT IMAGES