![]() ![]() Usually this task falls to a DIT (digital imaging technician). This often involves some on-site color grading to create either a temporary look or even the final look. ![]() With the practice of shooting footage with a flat-looking log gamma profile, many productions like to also see the final, adjusted look on location. It has the sole purpose of safely transferring media with no other frills. It uses a dirt simple interface permitting one source and two target locations. A number of applications, such as Imagine Products’ ShotPut Pro and Adobe Prelude let you do this task, but my current favorite is Red Giant’s Offload. This is a process often done on location by the lowly “data wrangler” under less than ideal conditions. It’s preferable to have at least two copies (from the location) and to make the copies using software that verifies the back-up. The first step is to get the media from the camera cards to a reliable hard drive. The applications I mention are for Mac OS, but most of these companies offer Windows versions, too. To keep the process solid, I’ve developed some disciplines in how I like to handle media. In doing so, you have to ensure that editorial decisions aren’t incorrectly translated in the process, because the NLE might handle a native camera format differently than the mixer’s or colorist’s tool. It’s common for an editor to send files to a Pro Tools studio for the final mix and to a colorist running Resolve, Baselight, etc. ![]() While this might work within a closed loop, like a self-contained Avid, Adobe or Apple workflow, it breaks down when you have to move your project across multiple applications. The modern direction in file-based post production workflows is to keep your camera files native throughout the enter pipeline. ![]()
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