The go-to has been the 20-year-old offline formats of 15:1, 14:1, or 10:1. What these have in common is that they are non-long GOP formats, which makes them easier for Avid to decode in real time. This media is commonly DNxHD, DNxHR and ProRes. For Avid Media Composer, this is OPAtom MXF wrapped media. You need to create media that is recognized by and optimized for the editorial platforms you’re cutting on. This can be challenging for several reasons. OK, now on to actually creating edit-worthy media. Are you creating low res offline versions for editorial, and then reconforming to the camera originals during your online? Lower budget? This usually means that the assistants in post are doing a majority of this rather than the folk’s onset.Īs for the creation of edit-ready media, this speaks to the workflow your project will utilize. What will your production do? Often, this comes down to budget. Now, having the DIT do all of this isn’t a hard and fast rule, as often assistant editors will need to create these after the raw location media gets delivered to post. A very common tool is Blackmagic Resolve, but also tools like Editready, Cortex Dailies, or even your NLE. Lastly, the DIT may also create edit ready versions – either high or low res – depending on your workflow. This may also include adding watermarks to versions for security during the dailies process or putting a LUT on the camera footage. This can include syncing 2nd system audio to the camera masters. Now, this can vary depending on the size of the production, but the DIT will not only wrangle the metadata and media from the shoot and organize it for post, but they may have added responsibility. Adding a watermark, timecode window burn, and LUT inside Blackmagic Resolve
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