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Lin to Log for film outs from resolve
Hi All,
I would like to incorporate Resolve into my workflow for an animated title sequence for a feature film. Delux is requesting film log DPX files. I have worked with them before with After Effects using Adobe’s Digital Cinema Workflow (using their Universal Camera Print Density output profile). This has worked very very well for me, involving only minor tweaks in the DI session.
I will be working with graphic panels created in photoshop and animated in after effects. My treatment uses a lot of moving grads to simulate moving lights. This is so much more accurate and fun to do in Resolve than in After Effects. The only problem is that I’m not sure how to output to a film-log dpx sequence from Resolve.
Here’s a breakdown of how I would imagine the workflow going:
1 – Animate PS graphics in AE, rec 709 colorspace, output as a Prores HQ quicktime
2 – import into Resolve and work the colors and grads
3 – output to a DPX sequence using some manner of Lin to Log Look Up Table to convert the sequence to the Universal Camera Print Density Log Space.
4 – Verify the sequence using after effects log to lin conversion
5 – Enjoy the hard work on the bigscreen at the DI sessionHas anyone done a lin to log filmout from Resolve? Does this workflow look appropriate? Is there somewhere I can find an output lut that would suit this workflow?
Please let me know.
Thanks for your consideration.
Best,
– Justin
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2 X Macpro 8 Core Nehalem 2.26, ATTO R380, Proavio EB8MS w 1.5TB segates, nVidia GTX-286, Blackmagic Decklink Studio, AJA LHi, FSI LM-1760W, Tangent Wave, Avid MC 5.5, CS 5.5, C4D12, Resolve 8.1, Cubase 5, Yamaha HS50Ms W HS10w Sub -
6 Replies
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You might want to ask Deluxe if they have a Lin to Log LUT that they can provide which is based on their film recording process. Typically you would grade in a calibrated environment with a LUT which has been made by the lab which take into account the film recorder used and the printing lights and the print bath on the film processor. This would get you very close to the look of the final film print output.
-Rob-
Robert Houllahan
Director / Colorist
Cinelab Inc.
http://www.cinelab.comMAHC-PRO 6-Core 3X GTX285 20Tb SAS Wave Panel Panny 11UK SDI Plasma.
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I would just ask them to do it themselves and not mess with it.
If you are having a working 709 ballpark, its just easier.
Arri did it for us last time we asked for a LIN film out and the results were too good to be true.
I bet Deluxe can do the same.A slice of color…
DaVinci 8.0.1 OSX 10.7
MacPro 5.1 2×2,4 24GB
RAID0 8TB eSata 6TB
GTX 470 / GT 120
Extreme 3D+ WAVE -
So the plot thickens. Its a French co-pro so the conform is being done at delux and DI is being done in France. I’m being asked to provide 2K DPX files in Alexa Log C colorspace. No one is being particularly helpful supplying me with pipeline or LUTs at this point.
I think what I;m looking for is a Rec. 709_2_Alexa_LogC lut to apply to the output of the Davinci. I see that they have a Log_C to 709 but not the reverse.
Please let me know if anyone has any thoughts as to where I might be able to find this?
Best,
– J
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2 X Macpro 8 Core Nehalem 2.26, ATTO R380, Proavio EB8MS w 1.5TB segates, nVidia GTX-286, Blackmagic Decklink Studio, AJA LHi, FSI LM-1760W, Tangent Wave, Avid MC 5.5, CS 5.5, C4D12, Resolve 8.1, Cubase 5, Yamaha HS50Ms W HS10w Sub -
I think I might have it – using Arri’s Lookup Table generator, select Video Gamma In and LogC out. Output as a .cube file and drop it into the Luts folder. It shows up in DaVici just fine.
There is scant documentation on the roll of “Output Lookup Tables” in the documentation. I’m assuming that it will output a LogC using image using this LUT but I’ll test and report back.
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2 X Macpro 8 Core Nehalem 2.26, ATTO R380, Proavio EB8MS w 1.5TB segates, nVidia GTX-286, Blackmagic Decklink Studio, AJA LHi, FSI LM-1760W, Tangent Wave, Avid MC 5.5, CS 5.5, C4D12, Resolve 8.1, Cubase 5, Yamaha HS50Ms W HS10w Sub -
Hello All,
Alright. After some conversations and testing I’ve got this working.
– Working in AE at 16bit linear. Rendering ProRes 4444 or DPX.
– Importing sequences into resolve.
– Import LUT set to a lut generated from ARRI’s LUT generator:AlexaV3_K1S1_Video2LogC_EE_davinci3d.cube
– Display LUT set to DaVinci’s Alexa_2_rec_709.
– Finishing touches…fun.
– Render to a DPX sequence.Works perfectly so far. When re-imported into another package: AE, Nuke, Resolve and the Arri Log-C to Linear LUT is applied, my original image is there. I have yet to test with the lab but I quite certain this will work fine based on other log workflows I’ve been involved with.
I hope this workflow is helpful for anyone else in the situation. Also, if anyone has any suggestions as to how it could be improved, please let me know.
– J
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2 X Macpro 8 Core Nehalem 2.26, ATTO R380, Proavio EB8MS w 1.5TB segates, nVidia GTX-286, Blackmagic Decklink Studio, AJA LHi, FSI LM-1760W, Tangent Wave, Avid MC 5.5, CS 5.5, C4D12, Resolve 8.1, Cubase 5, Yamaha HS50Ms W HS10w Sub -
Hi All,
One final entry on this workflow. Again, I was working on a title sequence for a feature that was finishing in LOG C. I could not rely on the lab’s transfer from sRGB (happening in France), so I needed to get my sequence looking perfect in LOG-C.
To further complicate things, I could not work in a linearized space in AE as the compositing transfer modes do not work the same. I had to revise a few things from my original breakdown:
– working in 32bit sRGB in AE
– the timeline had an adjustment layer with a Video to Log C LUT from ARRI’s LUT maker (extended in extended out) + the Log-C to 709 display LUT from Eclair so that I could see what things would look like in Eclair’s DI suite. I would turn this off for rendering.
– Render to DPX sequence with “scaled for video” settings.
– Use an input LUT in Resolve with the Video to Log C LUT from ARRI’s LUT maker (legal in, extended out – scaling the video and using the legal-in LUT was important as I was getting some chatter in the whites when working extended to extended range).
– Use the display LUT from the lab (Loc-C to 709)
– Final Grading
– Output to DPX.
I attended a preview DI at Delux and it was perfect. What I saw here is precisely what they projected there.
Log-C is a newish format and until AE builds a colour space/profile for it – like they did for CineLog, I think that this is the way to work if you do not want to leave your sequence in the hands of the lab to translate from sRGB or 709 into Log-C
I hope this is helpful to anyone embarking on a design project in LOG-C.
– J
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Design, Animation, Editing, Color for Cinema, Broadcast, Web and Installation.Gear: 2 X Macpro 8 Core Nehalem, ATTO R380, Proavio EB8MS, nVidia GTX-286, Blackmagic Decklink Studio, AJA LHi, FSI LM-2461W, Tangent Wave, Yamaha HS50Ms W HS10w Sub
Tools: Avid MC 5.5 (formerly FCP), CS 5.5, C4D13, Resolve 8.1, VDMX, Quartz Composer, Processing, Cubase 5.
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