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Another ARRI workflow/metadata question
Hey everyone.
We have some high-profile TV work due in a week and a half. 600GB of ProRes 4444 Log-C footage. It was captured from the SxS cards using software from ARRI’s site I believe. I’m going to be working with it in this form because there’s just no time to transcode everything. Machine is fast enough to handle the footage native.
First question:
I’ve been working a LOT in Premiere and I’m considering editing it in there. Shortcut-wise I’m more comfortable in FCP but I can’t ignore the 64-bit boost, playback without any rendering, quick color work without need to render, Dynamic Link, etc, etc. But, speed is a virtue and I don’t want to sacrifice time by working in a program that I don’t know as well. But oh how long those render times are in FCP! I do get good playback (~20fps) with Nick Shaw’s LUT until I go to the timeline, then everything needs a render. Have any of you run into similar dilemmas? My allegiance lies with whatever gets the job done faster and better.Second question:
How important is the extra metadata attached to the clips? Reel and timecode are key, this I know. But the extra data in the master comments, is it necessary? When working in FCP, whenever I try to move the raw files or clean up the XML, it erases that metadata. Premiere won’t display it at all. Should I worry about this? We’re not doing any VFX for the show minus the typical stabilize or titles so my guess is no, but I wanted to check with the community first.If it matters, after the edit, I’ll be exporting an EDL or XML for a color grade. There’s no sound syncing necessary either. Just music.
Thanks in advance for all your help!
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7 Replies
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Have you considered using LUT in your SDI signal path instead of applying Nick’s plugin?
As for metadata, timecode and reel are embedded in QT movie. My understanding is nobody really knows what to do with extra metadata from Alexa, except Gary Adcock maybe.
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I had initially but it seemed as if Nick’s plugin was a faster “plugin and play” option. In Premiere, I used the Cineon converter and had realtime playback to an external monitor, no rendering. Wondering if that’s the way to go.
And cool about the metadata. I suppose I could relink later to get it all back, but it’s an extra step that I’d rather not go through if I don’t have to.
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Working with a LUT (LUT Buddy in this instance) still creates the need for rendering in both FCP and Premiere. 3 seconds of video takes “about a minute” to load in FCP. I guess it’s inevitable.
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What I was thinking is loading a LUT into your hardware: I/O card like Decklink or Kona, HDlink, even a monitor.
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Not to sound like a total novice, but I have no idea how to do that. I’m using a Decklink Studio card if that helps. It’s hooked into a Panasonic monitor through HDMI.
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Not all of Decklinks support LUT’s. Go to System Preferences>Blackmagic Design>Processing>Output Processing. If there is a “Lookup Table” button and it is not grayed out you’re lucky. The list of supported formats and other details are in the manual. Sorry, I don’t have any relevant hardware at hand at the moment.
Another option is to go to you monitor menu and if there is gamma adjustment crank it way up. Boost saturation a bit too.
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[Michael Aranyshev] “My understanding is nobody really knows what to do with extra metadata from Alexa, except Gary Adcock maybe.”
Michael- I resemble that remark (and thanks)
Britany,
the XML workflow for Alexa was really only valid for FCP7. While the metadata the camera generates can be useful on many levels – unless you are planning to include that as part of your workflow from the very beginning, most people just pass. I would however recommend that you archive that file as part of the onset data management requirements.gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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@garyadcock
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