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Bob Zelin wasn’t too kind to X
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[Jeremy Garchow] “In my humble little opinion, FCPX does a raw workflow right, at least an R3D workflow.”
Absolutely agreed. Its strengths for RAW workflows are one of the BEST reasons I can see for taking FCPX seriously.
There are some insane tools for color as metadata, though, that don’t require RAW. That was my only point about that. I haven’t finished my research, but AJA’s new little LUT box looks cool, but the idea of a CDL, color decision list, that travels with the footage is a profound thing.
Pomfort LiveGrade is an amazing piece of software that I’m seeing more and more of. One workflow that I’ve seen is taking LOG out of the back of an Alexa, sending it through a Blackmagic HDLink, and do first-pass grading on the fly. It creates a CDL, which the colorists open in finish, and BOOM.
That’s just one guy I happen to know personally who’s getting it done this way. But the software is just looking for HD-SDI in. Any camera will do. From there, running ACES workflows on your laptop, even use your iPhone as a remote control. My boy is using Alexa LOG, but it also supports native LOG files for Canon, RED and others.
LiveGrade is under $500, and the pro version is under $900. The FCP and FCPX plug-ins are under $200.
Anyway, enough rambling. I also don’t mean to be pimping a specific product, especially one that’s not yet advertising in the COW. LOL My points being that CDLs offer big advantages over LUTs, and NONE of these advanced color workflows (including ACES) REQUIRE RAW. The tools are there to do it with any HD-SDI output and a piece of affordable software running on a MacBook Pro.
The days of miracles are upon us, friends. RAW is one of ’em, but not the only one, and maybe not even one that’ll help as much as plenty of others.
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I should note that CDL support has been part of Media Composer since 2006 – and recently with v7 is actually part of the source side color transform so changed can be applied during post and updated as needed. But the ability to import CDL via ALE, edit and send out ASC via EDL has been there for a while. It just gets a lot more interesting with v7. I will actually be doing a Moviola webinar on this workflow Tuesday.
Michael
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That guy on the dolly must be moving really fast.
Best,
John -
[John Godwin] “That guy on the dolly must be moving really fast.”
No, the bike is moving slow!
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[Tim Wilson] “There are some insane tools for color as metadata, though, that don’t require RAW. That was my only point about that. I haven’t finished my research, but AJA’s new little LUT box looks cool, but the idea of a CDL, color decision list, that travels with the footage is a profound thing.”
No doubt about it. And the nice thing about a LUT box is the easily routable signal on set.
Raw is certainly not required, you are right, but you do have a lot more control when it does come time to finish. It, of course, adds a layer of time and can be overkill.
Overkill is nothing new to production and post!
We typically shoot with flat gamma curves vs raw. On any other camera besides Red and perhaps BM Cinema/AJA CION, raw is an extra step and cost in production, and adds more time in post.
LogC and now Sony’s SGamut3/slog3 still offer great options. Canon’s gamma curves are still pretty baked, and the middle grey control is OK, but not as intuitive as Arri, and now Sony. It is interesting to see how all of these camera companies approach color science. This is why ACES is such a fantastic idea for this ever fragmented segment.
I also find fcpx with a LUT to offer very little hampering of performance, unlike some other NLEs. Color Grading Central’s LUT Utility performs very well on a smattering of lesser powered machines.
[Tim Wilson] “Anyway, enough rambling. I also don’t mean to be pimping a specific product, especially one that’s not yet advertising in the COW. LOL My points being that CDLs offer big advantages over LUTs, and NONE of these advanced color workflows (including ACES) REQUIRE RAW. The tools are there to do it with any HD-SDI output and a piece of affordable software running on a MacBook Pro.”
Absolutely, and in the case of DaVinci, the software might be “free”!
[Tim Wilson] “The days of miracles are upon us, friends. RAW is one of ’em, but not the only one, and maybe not even one that’ll help as much as plenty of others.”
There are no miracles, only science, hard work, and luck. Unless you’re these guys:
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CION has a built-in IR/OLPF filter built-in – the thought was that most film-style DP’s would use traditional ND’s in front of the lens vs. built-in ENG style ND wheel. The CION design had film shooters in mind vs. video style shooting. There may be room for internal ND’s much like Alexa where there is room behind the lens for filtration.
Lance Bachelder
Writer, Editor, Director
Downtown Long Beach, California
https://www.imdb.com/name/nm1680680/?ref_=fn_al_nm_1 -
Actually, none of them were even in the same place…
Jim Wiseman
Sony PMW-EX1, Pana AJ-D810 DVCPro, DVX-100, Nikon D7000, Final Cut Pro X 10.1.1, Final Cut Studio 2 and 3, Media 100 Suite 2.1.5, Premiere Pro CS 5.5 and 6.0, AJA ioHD, AJA Kona LHi, Blackmagic Ultrastudio 4K, Avid MC, 2013 Mac Pro Hexacore, 1 TB SSD, 64GB RAM, 2-D500: 2012 Hexacore MacPro 3.33 Ghz 24Gb RAM GTX-285 120GB SSD, Macbook Pro 17″ 2011 2.2 Ghz Quadcore i7 16GB RAM 250GB SSD -
I look at that original shot in the post above and think – damn, somebody’s gonna have to roto that light and gaffer out of the shot.
Then I think, heck, the dolly grip better be leaning back soon to slow the move, or they’re going off the tracks.
Odd how we look at the same picture and can see so many different things!
Still, it’s interesting that the press kit is composed of similar HDR shots that have that HyperReal look that’s been so popular for a while.
I wonder if chasing THAT look is one piece of why RAW is moving from Stills to motion?
Here’s another from the same press kit to enjoy.
Tres “True Detective Nuvo Noir”
Know someone who teaches video editing in elementary school, high school or college? Tell them to check out http://www.StartEditingNow.com – video editing curriculum complete with licensed practice content.
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Set in a dystopian future when sea level rise has almost maxed out, hence the swimmer ….
Best,
John -
[Lance Bachelder] “The CION design had film shooters in mind vs. video style shooting.”
I don’t know Lance if I buy that completely.
It has HDMI output which seems more a video need. (go into any consumer monitor rather than a high end one that only takes SDI)
But the topper for me is they have it shooting a baseball game in their ad in the workflow section.
Can’t think of a more video style event than that. Or one that I would want a filter wheel less : )
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