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
>
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>
> <https://www.vizify.com/es/50a32f618e76660002000521> See my vizify bio!
>
>
>
>
>
>
> [Non-text portions of this message have been removed]
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