If you've been involved in the video production world for a while you'll have heard the phrase "Workflow" without really understanding what it means. Don't worry you're not alone and with the advent of digital cinematography it was thought it would get easier, but with the multitude of formats, cameras and applications this has been far from the case.
Workflow is basically how you get the images captured, your editorial decisions, visual effects and colour decisions all the way through the process to delivery. Good workflow is doing that without losing quality and spending the time as sensibly as possible.
1. Capture video data on set.
2. Create Proxy files from the original video data.
3. Edit using proxies in an offline suite.
4. Export EDL to be used in an online suite and audio mix.
5. Online suite relinks to original video.
6. Online suite then finishes the video (Colour Grade, reframe, and redo mixes/fades)
7. Online suite exports finished piece as DPX or back to tape for distribution with audio mix.
A proxy file is a low resolution version of the original video data that has all the same
The reason for creating proxies and having seperate offline and online suites is to make the best use of the time and money.
Here's a basic example workflow for a simple shoot and production in this case a file based workflow using a Red Camera.
1. The video is recorded with the potential for basic colour processing on location by the Director of Photography (DP) and the Digital Imaging Technician (DIT).
2. The download technician puts all the recorded video from the shoot onto master and backup drives (possibly multiple backups).
3. The master drives and backups are sent to be verified and checked against each other.
4. The Backup drives are then stored separately and securely.
5. Master drives with the Red raw files are sent to a RedRocket station to create lower resolution proxies for offline editing (DNxHD files for Avid or Prores for Final Cut) with the option of using the look created by the DP and DIT.
6. The editor sits with the director in a darkened room for weeks on end creating an edit.
7. The EDL (Edit Decision List) is then exported from the offline edit suite and sent to an online suite and separately for the audio mix.
8. The online suite then links the EDL to the original Red files at the highest possible quality.
9. The online suite then Colour grades, reframes, recreates any fades/wipes and generally finesses the edit with the DP and Director.
10. The audio mix is then brought in and the finished piece is exported as DPX frames with a 5.1 audio track.