Geez, Jay. Check out DS. You could remove about 75% of those steps. That's a crazy workflow.
Tony
Sent by magic over t'interweb
On 2 May 2013, at 21:12, Jay Mahavier <jay_mahavier@earthlink.net> wrote:
> To begin, LogC and Rec709 are not the same thing. If you want to get more into that then let me know and I'll tell you what I know and point you to a couple of places that you can being to learn more. And by the way, this whole shoot, edit, on-line Log was way easy when we were recording to SR and not doing file based. File based kind of sucks.
>
> My workflow is....
>
> (shooting file based on Alexa)
> Shoot ProRes4444 LogC
> Make DNxHD dailies with a look LUT applied and data burn-ins (TC and original file name)
> Bring that DNxHD material and separate audio into Avid and auto sync. Leave master clips with original file name. Rename sync subclips with slate.
> Edit.
> Export AAF of a edited sequence.
> Import AAF into Resolve and relink to ProRes4444 LogC files.
> Export DPX sequence of each shot with handle to cover Frame F***ing. Usually about 8 frames should do.
> Use AJA DPX to QT to make a AJA 10bit RGB Log QT.
> Import those QTs into Avid and overcut sequence.
> Export AAF of that overcut track.
> AutoDuck import that overcut AAF into FCP7.
> Relink to the AJA 10bit RGB Log QTs. This is now your DI conform. When you make changes in the Avid you make a change list and update the sequence in FCP7.
> When we are ready to send that to the grading facility we export a AJA 10bit RGB Log QT of that sequence.
> Convert that QT you just made to DPX using AJA QT to DPX.
> Send DPX to grading facility.
> When you have updates to the sequence, like updated VFX, you just export the frame range you need and send that to the grading facility.
>
> And so you understand how easy it was when we would shoot to SR tape.
> (shooting with Genesis or Alexa and recording to Sony SR decks)
> Shoot LogC to 444RGB SR
> Digitize into Avid through HDlink Pro that has look lut loaded.
> Edit
> Export AAF of sequence.
> AutoDuck import AAF into FCP7
> Batch digitize through Kona3 card into FCP7 with the AJA 10bit RGB Log setting
> When we are ready to send that to the grading facility we export a AJA 10bit RGB Log QT of that sequence.
> Convert that QT you just made to DPX using AJA QT to DPX.
> Send DPX to grading facility.
> When you have updates to the sequence, like updated VFX, you just export the frame range you need and send that to the grading facility.
>
>
> Jay
>
> On May 2, 2013, at 9:47 AM, Dave Spraker wrote:
>
>> I was wondering if anyone could share their 709 workflow suggestions.
>>
>>
>>
>> I have a customer with a project that I believe was shot in Pro Rez 4:4:4 as
>> Log-C/Rec 709. The current plan is to transcode to DNX220x and do a quick
>> and dirty color grade in Symphony but ultimately link back to the Log-C and
>> have the finished 30 minute show graded in Nucoda.
>>
>>
>>
>> Any best practices (or alternatives)?
>>
>>
>>
>> Dave Spraker
>>
>>
>> Western Rep | EditShare | Consulting | Sports Audio
>>
>> <mailto:dave@spraker.tv> dave@spraker.tv
>> (503) 897-0250
>>
>>
>>
>> www.westernrep.com
>>
>> <http://www.editshare.com/> www.editshare.com
>>
>> <http://www.spraker.tv/> www.spraker.tv
>>
>>
>>
>> <https://www.vizify.com/es/50a32f618e76660002000521> See my vizify bio!
>>
>>
>>
>>
>>
>>
>> [Non-text portions of this message have been removed]
>>
>>
>>
>> ------------------------------------
>>
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>> Yahoo! Groups Links
>
>
>
> ------------------------------------
>
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