As anticipated we will be doing a 4K delivery in the near future. My understanding is we will be delivering a 4K master file and an normal HD master file. I am assuming the 4K will be UHD quad 4K if you will. We have a well established workflow with Arri Alexa and Amira multicamera shoots. With this experience under our belt of course the DP wants to shoot our first 4K project with a new Panny Varicam 4K model. I'm not sure of the exact camera number but I'm told they can't even seem to find 7 of them for the shoot. I don't have many specifics as to why the DP thinks the Panny is a good way to go. My gut says if the camera is this new there probably isn't an ama plug in for Avid yet but does anybody know if there is?
Given our previous use of Arri cameras I had planned to use Avid 8.3.1 or later, we have a current support so I can run anything, and ama link to the 4K and do a transcode to DNX 175X first baking in the Arri to 709 LUT then transcode that to DNX 36 for offline. We have no 4K infrastructure in place so I would then color correct the DNX 175X media for online and when that was all approved and QC'd I'd ama link back to the 4K media and bake out a 4K version. From what I've read here title tool will be a bit of a problem so I guess we will have to use New Blue Titler. Fortunately these projects have very little in the way of titles.
Now if there is no ama plug in for the Panny my workflow is out the window. Is it going to be more practical to take the 4K and first transcode to Avid's DNXhr resolution and then transcode from there to HD DNX 175X and DNX 36? I seem to recall reading here people were having problems transcoding from the DNXhr resolutions to the more standard HD resolutions. Perhaps I'm mis remembering the thread regarding this but I'd appreciate any experience or suggestions.
Can anyone think of a reason a DP would decide to use the Panny over an Arris. These are long one hour plus take shows so maybe there is media storage concerns too. In the past when we first started shooting with the Arris they would record to a special Codex format to allow for the long takes. This then turned into a long process of converting the Codex to DPX and then running that through Resolve to get HD media. I'm assuming a hour plus long take on an arri camera shooting 4K would probably need something special like the Codex format to record it. We now shoot the the Arris to ProRes .movs and don't have the storage problems but I'd guess with 4K that might create an issue. Mr. Oliver what's your take on Arri vs. Panny? I know you have done a lot of Arri work.
John Moore Barking Trout Productions Studio City, CA bigfish@pacbell.net
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Posted by: John Moore <bigfish@pacbell.net>
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this is the Avid-L2
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