Patrick:
That's a lot of questions, so without extensive background info....
I do our DI conform in house. It's faster, less expensive, and there are fewer mistakes if I do it rather than leave it to the grading facility.
The grading facility we work with uses Luster, so they would have to convert from QT to DPX or TIFF anyway, so I just take care of it. It's easier for me to manage what they are doing.
FCP7 and ProRes4444 Log doesn't work so well. Non-Log, then it works great, but not good with the Log material. Using ProRes4444 Log material and then going to export results in an image that is not faithful to the original. AJA 10bit RGB Log codec works great in FCP7
ProRes4444 LogC vs ArriRAW - cost drove the productions decision to chose ProRes4444. At the time going into production Convergent didn't have their new ArriRAW recorder out so our ArriRAW option was Codex. It cost a lot to use the Codex system compared to recording ProRes4444 LogC to the internal SxS cards on the Alexa.
The boss only edits in Media Composer so a different off-line system is not an option. And MC doesn't play nice with Log. At least not yet. But maybe in MC7. We will see.
Last I checked FCPX doesn't import Avid AAF files. Am I wrong now?
Smoke on Mac is a PITA. Regular Smoke and ProRes is a PITA.
When I tested Premier Pro CS6 I imported an AAF and it wants to relink to MXF media and not the original QTs that were imported so to relink media I have to do each one at a time. Which just isn't reasonable for the number of source files I have. I posted about it on the Adobe AAF Import forum, yes there is one, and go 246 looks and zero replies.
Resolve does a great job of converting ProRes4444 Log to DPX. But the interface isn't editor friendly when it comes to processing a change list. But maybe it I spent a little more time with it I could figure something out.
There are a lot of almost options, but none that easily fit all the parameters, yet. So I've figured out a workflow that works for our needs for now. If you want more history let me know what you want to know and I'll see about filling you in.
Jay
On May 2, 2013, at 9:33 PM, Patrick Inhofer wrote:
> On Thu, May 2, 2013 at 4:12 PM, Jay Mahavier <jay_mahavier@earthlink.net>wrote:
>
>> Shoot ProRes4444 LogC
>
>
> Jay,
>
> I'm trying to grok your workflow... what's the deal with going to DPX? And
> then why are you grading off that? Why not just grade off the camera
> originals? At first I thought this part of the workflow was for dealing
> with VFX houses that don't know what to do with non-DPX sources... but then
> I see a step in here of sending the DPX back to the grading house?
>
> Your step-by-step of this workflow is interesting but without understanding
> the context and why you'd not just grade off the camera originals... I'm a
> bit baffled.
>
> The whole point of the Alexa ProRes workflow is to keep it easy. Otherwise
> shoot ARRIRAW. Yes?
>
> - patrick, feeling clueless
>
>
> [Non-text portions of this message have been removed]
>
>
>
> ------------------------------------
>
> Search the official Complete Avid-L archives at: http://archives.bengrosser.com/avid/
> Yahoo! Groups Links
>
>
>
| Reply via web post | Reply to sender | Reply to group | Start a New Topic | Messages in this topic (19) |
No comments:
Post a Comment