HD, RED & Digital Cinema Workflows in Final Cut Pro
Video and Graphics
This three day course focuses on how to work with the myriad of HD formats and Final Cut Pro. There will be discussion and demonstration and hands on time with the various HD decks and cameras for capturing, ingesting and getting familiar with different workflows. Key elements of this class include detailed looks at the P2 workflow and trouble-shooting as well as working with the AJA Kona 3 capture card.
You will also explore post production workflows and the various options for working with Final Cut Pro in conjunction with footage shot on the RED camera. Details about the nature of RED footage is explored to have a better understanding of how to approach working with RED in post production. There is demonstration, discussion and hands-on exploration of a variety of software tools used for various workflows, including the tools supplied by RED and third party options.
Workflows and Topics include:
Primer on the fundamentals of key concepts of HD formats, a breakdown
of the different standards, discussions of when to shoot specific frame
rates and NTSC compatibility, anamorphic and full raster 16x9 formats,
quality and the relationship to color spaces and bit depth, and the
differences between working with various formats "natively" or
"non-natively."
Overview of storage requirements for various HD formats.
Working with native formats including:
Panasonic DVCPRO HD tape formats
P2 tapeless workflows with cameras like the Panasonic HVX-200
Tapeless workflows with Sony XDCAM HD
HDV
Capturing/ outputtting with the AJA Kona 3 capture card for working
with popular formats, including:
HD D5 or HDCAM
DVCPRO HD
Capturing from one tape or tapeless format and outputting to another
tape format
Capturing from HDV to a more robust editing or mastering format
Offline/ online workflows for various formats.
Mixing and matching different formats.
Working with mixed formats timelines:
Using a Kona 3 capture card to up-convert/ cross-convert and
down-convert SD and HD video
Using Final Cut Pro and Compressor to convert formats from SD to HD,
cross-convert HD formats and down-convert from HD to SD
Preparing an HD program for an SD DVD.
How to manage media on set and create a list of "selects" with various information carried through into post to aid in the management of RED footage
Exploring the pros and cons of various solutions and why one solution may work better than another for the needs of a specific project
Create "dailies" and how to approach offline editing as well as how to use "proxy" media for editing.
Creating initial one-light color correction through various applications for initial dailies or final media.
Manage between offline and online editing stages.
Working with different options to "conform" and create high quality media for HD outputs or DI workflows for film-outs.
One included workflow details the steps for integrating RED metadata for use from Final Cut Pro offline, to online and finishing in Apple's Color.
Options for offline editing in Final Cut Pro and finishing on other systems is overviewed.
Specific applications covered in the course include Final Cut Pro, RED Alert, RED Rushes, Clipfinder as well as an overview of other solutions for other workflows.
And more!
You will also explore post production workflows and the various options for working with Final Cut Pro in conjunction with footage shot on the RED camera. Details about the nature of RED footage is explored to have a better understanding of how to approach working with RED in post production. There is demonstration, discussion and hands-on exploration of a variety of software tools used for various workflows, including the tools supplied by RED and third party options.
Workflows and Topics include:
Primer on the fundamentals of key concepts of HD formats, a breakdown
of the different standards, discussions of when to shoot specific frame
rates and NTSC compatibility, anamorphic and full raster 16x9 formats,
quality and the relationship to color spaces and bit depth, and the
differences between working with various formats "natively" or
"non-natively."
Overview of storage requirements for various HD formats.
Working with native formats including:
Panasonic DVCPRO HD tape formats
P2 tapeless workflows with cameras like the Panasonic HVX-200
Tapeless workflows with Sony XDCAM HD
HDV
Capturing/ outputtting with the AJA Kona 3 capture card for working
with popular formats, including:
HD D5 or HDCAM
DVCPRO HD
Capturing from one tape or tapeless format and outputting to another
tape format
Capturing from HDV to a more robust editing or mastering format
Offline/ online workflows for various formats.
Mixing and matching different formats.
Working with mixed formats timelines:
Using a Kona 3 capture card to up-convert/ cross-convert and
down-convert SD and HD video
Using Final Cut Pro and Compressor to convert formats from SD to HD,
cross-convert HD formats and down-convert from HD to SD
Preparing an HD program for an SD DVD.
How to manage media on set and create a list of "selects" with various information carried through into post to aid in the management of RED footage
Exploring the pros and cons of various solutions and why one solution may work better than another for the needs of a specific project
Create "dailies" and how to approach offline editing as well as how to use "proxy" media for editing.
Creating initial one-light color correction through various applications for initial dailies or final media.
Manage between offline and online editing stages.
Working with different options to "conform" and create high quality media for HD outputs or DI workflows for film-outs.
One included workflow details the steps for integrating RED metadata for use from Final Cut Pro offline, to online and finishing in Apple's Color.
Options for offline editing in Final Cut Pro and finishing on other systems is overviewed.
Specific applications covered in the course include Final Cut Pro, RED Alert, RED Rushes, Clipfinder as well as an overview of other solutions for other workflows.
And more!
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Training
Provided by Moviola Digital Education Center
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HD, RED & Digital Cinema Workflows in Final Cut Pro
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About The Training Provider: Moviola Digital Education Center
Moviola Digital Education Center - Conveniently located in the heart of Hollywood"s production district, the Digital Education Center is the entertainment industry; premiere resource for post-production, motion graphics and digital arts training. With more than 80 years of history in Hollywood, Moviola has become known around the world for our innovation, expertise and personalized service.
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