At the end of each shooting day in most cases the data needs to be transferred to post production to start the transcoding process. Of course, exceptions are always possible: e.g. editorial happens on-site or after principal photography when shooting in a remote location.
Post houses offering a HD or UHD editing pipeline should not have issues handling the original camera negative (OCN) that was recorded on Codex Drives, SxS cards or CFast cards. OCN, which was shot as QuickTime/ProRes can be edited natively in most editing tools and does not need further transcoding. For editing with high resolution OCN we suggest latest high-level hardware to get the best experience.
OCN, which was shot in ARRIRAW first needs to be transcoded into a different codec and container e.g. DNxHD or QuickTime/ProRes for editing.
For a smooth editing workflow, we suggest transcoding all OCN data into lower resolution proxy files e.g. HD or UHD. There are various codecs for different editing tools, which are supposed to be used for editing e.g. DNxHD, DNxHR (for UHD & HDR content and QuickTime/ProRes.
There is metadata within the proxy files, which has to match the highres OCN files after your transcoding:
- Source Timecode
- Clip Name or Reel Name