Topics covered in this article:
- Solutions used for creating deliverables
- Workflow for editorial or versioning
The primary deliverables from the color correction system may require further mastering, versioning, etc. before they can be finally delivered to the studio or client.
There are a variety of products and solutions from Dolby’s partners that can be used to create versions or other deliverables like: HDR10, HLG, and SDR.
The Dolby Vision content creation workflow today assumes that the color grading process is the final creative stage in post-production. Hence Dolby Vision metadata is created on the final version of the content, after which the Dolby Vision master can be delivered for final distribution.
Creative editorial changes are usually performed using an offline editing tool like Avid Media Composer, Adobe Premiere and others. Such tools usually work with (lower quality or resolution) proxies and any editorial changes made must therefore be re-conformed in the color suite. Such roundtrips are usually carried out using editorial metadata (EDL, XML, AAF, etc.) and will allow the color corrector to update the color grade to match the modified edit and adjust the Dolby Vision metadata as well. Newly added shots must be graded and then analyzed for Dolby Vision and trimmed if required.
Versioning of content for creating language versions are often performed using dedicated mastering tools like Colorfront Transkoder, MTI Cortex, R&S Clipster, etc. These tools provide the option to import Dolby Vision metadata along with the corresponding images and check (QC) their synergy and compatibility. During the mastering or versioning process, changes and updates can be made to the Dolby Vision Master and simultaneously checked for integrity and validity.
In workflows where further editorial, finishing, or versioning work is required after color, it may be required to update the existing metadata to follow/match the changes made to the content. Many of the systems/tools that are used for post- color editorial, finishing, or versioning work like Avid, Adobe Premiere, Final Cut Pro, etc. do not support Dolby Vision metadata at the moment. In such cases, it is advisable to finish color and send the project forward for editorial, finishing, or versioning work without carrying out the Dolby Vision pass. Once the content is finished completely, it can be brought back into the color correction system for Dolby Vision analysis and trims followed by final delivery of the Dolby Vision Master.
[refer to the article FAQ: Dolby Vision compatible Color Grading & Packaging Systems (force.com) for more information about supported systems and partner solutions]