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Technical process of postproduction work... > Setting Up Your NLE Project - Pg. 417

chaPter 19 Postproduction overview and Workflow 399 color correction p. 513 telecine log p. 414 transfer film negative Ch. 8 process and telecine (3 : 2 pulldown) p. 401 p. 400 editing Ch. 20 (picture) Ch. 22, 23 (audio) NLE master DV tape p. 516 distribution (multiple formats) Ch. 24 audio original Ch. 15 video dailies resolve and sync audio (lab or NLE) p. 405 and 431 p. 403 non-sync audio audio mix Ch. 23 = lab service Figure 19-2 Picture and audio paths for workflow #2: Shoot: Film/Transfer to DV/Edit: Digital/Master: DV tape/Release: multiple formats. on film. The world of film festi- vals has realized that projecting submissions on digital video is essential if they are to represent the full spectrum of films out there--documentary or narra- tive--regardless of their acquisi- tion format. In 2008 the Tribeca Film Festival in New York City, one of the world's elite festi- Figure 19-3 Daschbach's award-winning short film Waking Dreams (2004, left) followed workflow vals, screened well over half #1: it was shot on video (DVCPRO50) at 24p, edited at 29.97, and color corrected with the NLE system's their programs on HDCAM, and native color tool. The film was then mastered to DVCPRO as well as BetaSP for festival distribution. Lu's the Avignon International Film film When I Was Young (2003, right) followed workflow #2: it originated on 16mm film, was transferred Festival (that showcases emerg- to video, edited, and color corrected on a NLE. The film was mastered right out of the NLE to BetaSP and ing filmmakers) is 100% digital distributed in multiple formats. (See both of these films at www.voiceandvisionbook.com.) projection. Add to this that the only affordable film release format (16mm) is all but dying out; 16mm projectors (with their horrible optical audio) are getting harder to find, while good-quality digital projec- tion is ubiquitous. So although Super 16mm remains a viable shooting format, "film release" essentially means 35mm, and that is always an expensive proposition (see page 410) (Figure 19-3). technIcal Process of PostProductIon WorkfloW Each of these workflow options has its own advantages and challenges. It's important to keep in mind that the picture and audio often follow different technical paths, espe- cially in double-system sound production. We've covered the production formats (image and audio) in earlier chapters: Chapter 8: The Film System, Chapter 9: The Digital Video System, and Chapter 15: Sound for Production. Now let's look closer at the specific post- production technical process for each workflow scenario. setting up Your nle Project Before you bring footage into your editing system and start cutting away, you need to take the time to properly set up your NLE project. Setting up your project means establishing the postproduction format workflow so that every stage is consistent and compatible. Obviously, we can't cover every specific variation for setting up a project in this book, but in general you must access the audio/video settings (Figure 19-4) and enter the following information for your particular project: 1. Source format. The format of the media you're bringing into the NLE (including resolu- tion, frame rate, scanning mode, timecode, and codec). For SD and HD projects, this is your shooting format, but for projects that shoot on film and D-Cinema (see page 407), your source format is what you've transferred to for editing.