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Another workflow query: Alexa > FCP7 edit > Smoke 2013 grade
Hi guys,
I’m shortly to have my first experience working with rushes shot with Alexa. It’s a promo for broadcast on HDTV. The promo will be edited in FCP7, and then finished and graded in Smoke 2013.
We want to maximise quality and while our Smokes can import ARRIRAW, they cannot import ProRes. I’d be interested in opinions about which would be the best way to work:
1. Shoot ARRIRAW, edit in FCP using ProRes proxies, import an XML EDL into Smoke for reconnecting to the ARRIRAW files, or
2. Shoot direct to ProRes, edit in FCP, export the edit as an uncompressed QuickTime for import into Smoke for grading.
Our Smoke guy is pushing for grading with the ARRIRAW files rather than an uncompressed export of ProRes-originated material, but does that actually offer any significant benefits for TV broadcast work?
I should point out that there will be no editing happening within Smoke, the edit will be fully locked in FCP.
And how do LUTs fit in to all this? The footage out of the camera will look washed-out in FCP/Smoke without a LUT being applied, is that right? It’s no problem to do the edit with washed-out footage, but does applying the LUT in Smoke before the grade require access to the original camera rushes rather than a simple QuickTime export of the final edit?
Sorry to sound like such a noob, but there appears to be a lot of conflicting information about this out there, and colleagues have had bad experiences in the past working with RED and Alexa due to inadequate or even downright wrong advice about workflows.
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1 Reply
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[Gareth Randall] “1. Shoot ARRIRAW, edit in FCP using ProRes proxies, import an XML EDL into Smoke for reconnecting to the ARRIRAW files, or”
Id say that this is the best quality workflow.
You will get the best images on your finish this way.
David
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