> We typically make MXF before editing, but you can do that in Avid. Check Oliver's Blog post-
> Greg Huson
>
>> Scott Ham wrote:
>> We were about to do a job on the ARRI but they switched over to RED.
>> Anyone cut with it yet? Difficult in an out?
Greg and Scott,
Thanks for the reference. I wrote a 3-parter on Alexa post:
http://tinyurl.com/4tpy9g4
http://tinyurl.com/24hs3c5
http://tinyurl.com/4wb4mlq
So far this has mainly been experimentation in preparation for upcoming work. I have two major clients shifting to Alexa from film, 5D and P2 work. These articles pertain to dealing with the ProRes files and not ARRIRAW. I believe that's just now being enabled in the newest firmware. IMHO, it's also overkill for spots, TV shows and other video projects. OTOH, I think feature film folks and VFX artists will be using ARRIRAW quite a bit.
The feedback I get from DPs and assistants is that they really like the look and ease of operation of the camera. I find ProRes files from Alexa with a Log-C profile to be a very easy format to deal with - far better than anything else to date.
The Avid dilemma is how best to deal with the Log-C color profile in post, which is what I touched on in the blog. There are no LUTs for it in MC, so you can either work with the flat image, add color correction to adjust during the edit or process ahead of time for an offline/online approach. There also are no source-side effects in MC (like in FCP), so if you apply CC on the timeline, match frames will pull up an uncorrected image.
I recently discussed workflow ideas with a DIT and they used external LUT hardware. This would let you view and/or record LUT-corrected images if you desired. As an editor, I would prefer to have the Log-C images and make color adjustments in post, but that's not the ideal solution for everyone. I know GlueTools is working on some solutions. Hopefully Avid will add source settings into MC, as they have for RED.
- Oliver
No comments:
Post a Comment