Your problem is that you have to match the color space they are working with. Yes, you can put a LUT on an upper track to see the 709 output while you work, but what are you going to send back to them? In other words, what are you going to export? You need the timeline to be in that color space so your export without the 709 LUT is correct.
So, find out what color space they are working in, and see if Avid has a matching option, and then you should be golden.
PS: This is one of the things ACES is supposed to fix some day.
So, find out what color space they are working in, and see if Avid has a matching option, and then you should be golden.
PS: This is one of the things ACES is supposed to fix some day.
"Does anyone know if there is a LUT choice in Avid the would take Sony Slog HDR, I assume Slog 3, and convert it to a Rec 709 environment so I could see something fairly normal to work in? I suppose I could just work with it all milky but I think that might make it harder to judge paint outs etc..."
Terence Curren
Burbank, Ca
AlphaDogs: We Unleash Your Stories
-----Original Message-----
From: Avid-L2 <Avid-L2@yahoogroups.com>
To: Avid-L2 <Avid-L2@yahoogroups.com>
Sent: Sun, Aug 18, 2019 8:15 pm
Subject: [Avid-L2] Digest Number 11306
From: Avid-L2 <Avid-L2@yahoogroups.com>
To: Avid-L2 <Avid-L2@yahoogroups.com>
Sent: Sun, Aug 18, 2019 8:15 pm
Subject: [Avid-L2] Digest Number 11306
1 Message
Digest #11306
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Sun Aug 18, 2019 6:31 pm (PDT) . Posted by:
"John Moore" johnrobmoore
A post producer friend is onlining at a large facility for a 4K finish in HDR. I'm told they shot in SLog so I assume it's on Sony cameras. They are using baselight and had suggested Flame but he doesn't really have a Flame budget so I'm not sure what they are using with baselight at this point. The estimate for what seem to be fairly basic paint outs of prompter, crew etc... is very high.
We are looking into doing some of the paint outs with other people. I haven't worked in HDR in Avid but given they want to do the paint outs in SLog world I figure if it's simple cloning out type stuff I could probably help out on the project. I see there is some HDR support in Avid 2018..X but I'm not versed in what kind of a project I would set up.
My thought is I could create an output LUT on an upper track. I know MC 2019 seems to have more options for things that seem to mimic the functionality of an output LUT but I'm not running 2019 at this point.
Does anyone know if there is a LUT choice in Avid the would take Sony Slog HDR, I assume Slog 3, and convert it to a Rec 709 environment so I could see something fairly normal to work in? I suppose I could just work with it all milky but I think that might make it harder to judge paint outs etc...
Any thoughts or suggestions welcome. I would have hoped to approach HDR in my more native Avid centric world but this is jumping in the middle of a baselight and not sure what workflow so I'm not in any kind of comfort zone.
John Moore Barking Trout Productions Studio City, CA bigfish@pacbell.net
We are looking into doing some of the paint outs with other people. I haven't worked in HDR in Avid but given they want to do the paint outs in SLog world I figure if it's simple cloning out type stuff I could probably help out on the project. I see there is some HDR support in Avid 2018..X but I'm not versed in what kind of a project I would set up.
My thought is I could create an output LUT on an upper track. I know MC 2019 seems to have more options for things that seem to mimic the functionality of an output LUT but I'm not running 2019 at this point.
Does anyone know if there is a LUT choice in Avid the would take Sony Slog HDR, I assume Slog 3, and convert it to a Rec 709 environment so I could see something fairly normal to work in? I suppose I could just work with it all milky but I think that might make it harder to judge paint outs etc...
Any thoughts or suggestions welcome. I would have hoped to approach HDR in my more native Avid centric world but this is jumping in the middle of a baselight and not sure what workflow so I'm not in any kind of comfort zone.
John Moore Barking Trout Productions Studio City, CA bigfish@pacbell.net
this is the Avid-L2
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Posted by: Terence Curren <tcurren@aol.com>
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this is the Avid-L2
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