Preparing Digital Camera Files



The modern direction in file-based post production workflows is to keep your camera files native throughout the enter pipeline. 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. 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. for the final grade. 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. To keep the process solid, I’ve developed some disciplines in how I like to handle media. The applications I mention are for Mac OS, but most of these companies offer Windows versions, too. If not, you can easily find equivalents.

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