2009

• Other digital cinema cameras, such as the RED ONE, record 2K and 4K resolution image
data using a proprietary RAW format. The RED Digital Cinema Camera Company provides
plug-ins for Final Cut Studio that enable specialized ingest and finishing workflows.
Other manufacturers rely on proprietary image-processing utilities to convert their
format to one useful to Final Cut Studio applications.
• Still other digital cinema cameras record images as DPX image sequences. This workflow
is similar to a film digital intermediate workflow; you can use Color to convert the source
DPX image sequences to online or offline QuickTime media for ingest and editing in
Final Cut Pro, and later, finishing (with the option to reconform to the original DPX
image sequences in Color, if necessary).
Quality-Control Guidelines
Whether your program is intended for film or digital projection, quality-control standards
are usually extremely specific in order to maintain color fidelity from the negative through
to the final distribution prints or digital masters that are sent to theaters. Color and
quality-control issues are usually worked out through the efforts of the facilities that do
the grading, film output, and/or digital mastering. What this means is:
• You’ll use Color, or another high-end grading system, to color correct your program.
• You need to carefully calibrate an appropriately high-end display using LUT profiles.
• It’s best if you coordinate your efforts with the facility that is printing or mastering the
final project.
Delivery Specifications
A program’s distributor usually provides the exact delivery specifications that are required.
Delivery specifications for film projection include 24 fps playback, specific aperture sizes
and aspect ratios, and specific audio encoding methods. Delivery specifications for digital
projection are defined by the Digital Cinema Distribution Master (DCDM) encoding
specification, which includes specific color space encoding standards and 2K and 4K frame
sizes. What this means to you is:
• If you’re delivering 2K or 4K image data, you’ll typically deliver a DPX image sequence.
• It might also be possible to provide your 2K or 4K program master as a QuickTime file
using the Apple ProRes 4444 codec. (Check ahead first.)
• If you’re delivering your program at 720p or 1080p resolution, you may be able to
deliver an HDCAM SR or D-5 tape master.
25Chapter 1 Developing a Post-Production Strategy