Well so far so good. I was able to take my consolidated media from the avidmediafiles folder and bring that into Resolve then I opened the LUT folder in Resolve and dragged both Lut files I was given into that folder. I clicked update list and the lut I was given showed up. I set it as an output LUT and it seems to be working. I used the embedded reel name in the files which matched the Avid tape name when they clips were consolidated. So after baking for a few hours I should be able to relink to the Lut'ed versions of the media tomorrow.
One thing that threw me was when I went to render out even though I selected individual clips it would always stop after rendering the first shot. After some trial and error I found I had to right click in the timeline position area and mark in at the top and mark out at the end of the mastertimeline. There is also the option to select all and that seemed to get the render job to render out all the clips.
--- In Avid-L2@yahoogroups.com, John Moore <bigfish@...> wrote:
>
> I have a show that was shot on the Alexa. It's a multicamera stage shoot. I have on the Graid drives from the field the following Folders:
> CODEX_NEG
> LUT
> SHOW NAME_DCAM BACKUP_DNxHD
> SHOW NAME_DNxHD_45
> SHOW NAME_DNxHD_220X
> SHOW NAME_PRORES PROXY
>
> The Codex folder is the Arri Raw in dpx form. I assume this is the Codex units that are used to record high end cameras like the Alexa.
>
> The Lut folder has two files:
> AlexaV3_EI0800_LogC2Video_Rec709_LL_davinci3d.cube
> AlexaV3_EI0800_LogC2Video_Rec709_LL_davinci3d.cube_shaperlut
> I assume these are LUTs for use in Davinci. The files are definately log C looking in Avid.
>
> The other folders are the various media that was prepared in the field. I assume the Alexa generated the DNX 220X during the shoot and the DNX 45 was transcoded later and perhaps the ProRes Proxy files were transcoded later or can they be generated at the same time the Alexa is generating DNX220X?
>
> One thing I noticed is the reel/tape names of the the DNX 220X are something like .msm01. , .msm02, etc.... I can see these after dragging the DNX 220X files into an avid media files folder and dragging the database into a bin. The offline sequence however has Tape/Reel names that mimick the actual clip names like; A001C002_140908_R21X, C002C004_130907_R27O, F001C003_130907_R33D etc... This last file name makes me think there might have been one Red camera on the shoot. I will be contacting the DIT to find out why I see the Tape/Reel Name differ between the DNX220X and the DNX45 media. I'm guessing the DNX 45 was transcoded from the Camera made DNX220X and whatever program does that takes the clip name and makes it the Avid tape name. Anybody hip to what might have been used in this workflow.
>
> I've got everything online by manually modifying the Tape name to match those that the offline sequence referenced. Now the big question for me is how to use the LUT provided. I don't have Avid 7 so that's not available at work. Now that I've relinked the media I can generate an Avid AAF to send to Resolve and use Resolve to add the LUT and bake out new corrrected media. I know I can apply an S type curve in Symphony but I'm trying to broaden my skill set and respect the DIT giving me a LUT to use. I assume his LUT is generic given there were 6 cameras and I only have one LUT on the drive so I don't think it's designed to give me the DoP's look design.
>
> The show will be delivered on HDCam or HDCamSR so I don't want to go completely overkill with the Raw media but for the sake of edification is it likely I could take the Avid AAF into Resolve and relink back to the Alexa Raw files using Resolve 9? We do have a Resolve license so it's not the freebee version. I'm going to research how to add the LUT in Resolve as this is something new for me. Any suggestions are welcome.
>
>
>
>
> John Moore
> Barking Trout Productions
> Studio City, CA
> bigfish@...
>
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