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Arri workflow
I have a client with Arri ProRes footage they shot in Log C. We are going to do color correct on our Baselight. How are you getting your material out of FCP and into the Baselight?
I was going to do some tests with Nuke to convert the ProRes files to DPX sequences for ingest. This is time-consuming but should be the highest quality?
But could I lay the files to HDCAMSR 444 and capture the film into the Baselight that way? There is compression on the tape though and I want to avoid that but it saves a lot of time and I’m trying to keep costs down for the client.
How have you been working with the ProRes files? I wish we had a Kompressor box.
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2 Replies
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I was doing some reading. Is it true that the Arri only records the ProRes 444 files as YCbCr? Is it 444 YCbCr or 422? If it was only 422 I could go to HDCAMSR 422 and I’d only have to deal with a 2.1 compression ratio and then after that we work in 444 RGB and finish that way?
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Obviously the 444 codec captures is 4:4:4. So what’s the best way to convert this material to RGB DPX you think?
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