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Advice: Complete MC Workflow using XAVC source media
We are doing more productions that are using Sony cameras. In conjunction with some camera people, we have established that we’d like to shoot using XAVC-I 100 codec with S-Log3 settings.
Previously, and with current non-Sony media, we transcode to, work in, and master to DNxHD120.
Our tests showed that if we work with the native XAVC-I and S-Log, we got much better results with our (Symphony) grading, thanks to the 10bit codec and greater dynamic range of S-Log.
I would like advice on the appropriate workflow when using XAVC-I media. If we Link to this footage and apply the LUTs, then Consolidate to XAVC, the Colour Settings are not baked in and therefore, don’t get seen by the producers using Interplay Central. If we Transcode to the same codec rather than Consolidate, we can bake in the LUT colour settings but I’m wondering if there are any drawbacks to that. (Either the ‘bake in’ part or the Transcode part.)
And from that, should I have all my Media Creation settings (Render,Title media etc) as XAVC? And then what should I master out to?
Note: we will be working in the one resolution the whole time, not low rez then a hi rez conform.
Regards– – – – – – – – –
Neil Ryan
Senior Finishing Editor
WTFNOS 10.9.5
Media Composer 8.2.5 with Symphony
ISIS5500 & Interplay– – – – – – – – –
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1 Reply
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Hi, wondering where you ended up and If I’m confused about a few things in this post.
Don’t both consolidate and transcode put have the lut in as a source setting? I originally got a XAVC shot project that got uprezzed to 175, and had them go back and consolidate, but even the 175 had the lut as a source setting. Seems the interplay issue is more w/ source setting that trans/consol, but I may be wrong. And I wouldn’t want to “bake in” any color before everything is totally finished, as the latitude of s-log is lost then, no?
Definitely set the render to the same setting as your consolidate/transcode, banding and other things started appearing when my render was originally set to 175.
For Mastering, I’d assume you would keep an internal master also at XAVC, and then create one to deliver specs.
Surprisingly, I tested mixing down to even 35 and much of the banding didn’t reappear, even though original color safe renders at 175 did yield issues.Hope this helped, but may have just confused things more.
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