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Avid based Alexa Log-C workflow with LUT (look) Burn-in
We have a method to work with Alexa Log-C footage on Avid with LUT Burn-in.
See: https://homepage.mac.com/lindsayellis/dusty2.html
The first part of the workflows this solution provides is that is makes DNxHD 36 MXF files with tape and timecode metadata.
DNxHD 36 is used as this is for offline workflows, but DNxHD 120 could be defined (as can additional metadata such as ‘project name’ and ‘comment’). Feedback on that would be a help.
At the same time it will burn-in a ‘look’ in the form of an ICC profile. This ‘look’ can be from a LUT or any grade.
Also at the same time it makes a DNxHD 36 MOV which can be used for AMA type workflows. The tools required for this workflow include the main software/script (as yet un-named). The required ‘look’ as an ICC profile. To control your own looks you will neeed SpaceMan ICC. (Or use the conversion service Light Illusion provides)
Any Intel Mac with Quicktime Pro7 including Colorsync (which is standard in Mac QT Pro7). With Avid MC the additional re-linking, etc, can be performed. Hope this makes sense?The code required to enable the ICC profiles to be burnt-in, plus a couple of initial ICC profiles (320IE with full-range and legal level settings) will be provided for a cost of £120 UKP.
If additional ICC profiles are required the full SpaceMan ICC software can be purchased outright, or individual Alexa LUTs can be converted at the cost of £100 per conversion.
Contact st***@***********on.com for more info.
Steve Shaw
LIGHT ILLUSION
st***@***********on.com
+44 (0)7765 400 908
https://www.lightillusion.com
Skype: shaw.clanLUTs, CUBEs + GAMMA CURVEs
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2 Replies
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I like the concept and work thus far (from the video)
I presume some form of FFMPEG is being used for the QT generation?
Obviously a GUI and increased LUT support (formats) would be great.
How does transcoding time look? Are you taking advantage of multi proc machines? ProRes and ALEXA material can take a while to transcode.
I’d love to see not only DNX36, but also 145, 175, 220, 220x, etc. Many Commercials and TV will use 145/175 (as it is broadcast quality) and simply output from that. For those that want maximum quality, 220x would be tops in the Avid realm. So – I hate to say it – access to all of the Avid QT codecs would be awesome.
Now for ALEXA to generate DNX in camera, as an alternative to ProRes – that would certainly be interesting for Avid folk.
Spoke about ALEXA in post yesterday at a seminar, wish I had a chance to play with this before the discussion!
Looking forward to further development!
~Michael
.: michael kammes mpse
.: senior applications editor . post workflow consultant
.: audio specialist . act fcp . acsr
.: michaelkammes.com
.: twitter: @michaelkammes
.: facebook: /mkammesHear me pontificate: Speaking Schedule .
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Michael,
Contact me off list.Steve
Steve Shaw
LIGHT ILLUSION
steve@lightillusion.com
+44 (0)7765 400 908
https://www.lightillusion.com
Skype: shaw.clanLUTs, CUBEs + GAMMA CURVEs
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