I have a 4K show coming up that was shot on a mixture of Red Cameras. There are two multicam shoot locations. Shoot 1 has 4 cameras shot 4096x2160 according to Avid info. There is also that shot 6144x3160 ColorSpace REDcolor4 and GammaSpace REDgamma4. Another camera is 5120x2700 with no ColorSpace or GammaSpace info
Shoot 2 they shot something that gets listed as 5K . Those cameras are shooting 4800x2700. ColorSpace and GammaSpace for shoot 2 most of these columns are empty but a couple of clips have ColorSpace=DRAGONcolor2 and GammaSpace REDgammma4.
There are also various Kelvin readings. I'm going with the assumption the best approach is to use the camera metadata which seems to look ok with the basic ama link and no tinkering. At least that's how the offline media was transcoded.
For offline we did not bake in the frame flex and given there were no standard source LUTs applied the color just is the default mentioned above on the offline DNX 36. The offline clips still show the above listed raster sizes so I think that is correct for Frame Flex to do an accurate job of cropping and scaling. This is the area that I am not familiar with. I can't get on my system right now to tinker but for the odd sized clips like 4800x2700, which is 16:9 when we deliver True 4K at 1:9:1ish, how does Avid handle these clips? Does Frame Flex automatically crop the image to 4096x2160 or will it scale it and distort the aspect ratio? I think these are frame flex settings but I'm curious how defaults are applied.
All these "flexible" parameters are making my end of things a lot more complicated. Yes there may be more creative freedom but this is a big time suck IMHO. I guess I'm use to camera people shooting things in the delivery format framed the way they want it to appear and not leaving all this extra work to me. Yes I'm grumpy but production doesn't seem to factor in the reality of streamline post workflows and just plays with all the buttons they can. Oh well I guess I'm supposed to be grateful for all this freedom too bad it doesn't come with a bunch of extra online time to sort this stuff out and I'm afraid offline might not be done on Avid 8 but a 6.5 system which adds additional chance of lost metadata and frame flex. Just another fine mess Stanley!!!!
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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