Ingest workflow: Alexa / ProRes HQ / Avid / Windows

[Jon Hensen]

Thanks for taking a look, Pat.

So does that mean I have to click bypass transformation for the material to look “normal” as you say?

Or are you saying that the LogC to REC709 transformation is good? It is not usable in the state I see it. It was immediately alarming to the DP upon looking at the footage within MC. Incredibly over saturated and crushed.

Sorry I’m just a bit confused.

[Michael Phillips]

What monitors are you using for reference when looking at this images? I would never trust the source/record GUI monitors for any critical or even pseudo-critical color decisions. If you are using a LUT>709 then you should be looking at a Rec.709 calibrated monitor. The GUI viewers are truly for editorial reference. They don’t even show the full frame, it is either 1 field in interlace projects or 1/2 frame (segmented) in progressive projects which is something to keep in mind when doing motion effects, and judging frame rate conversions and FluidMotion. I still get caught by that myself.

Michael

[Pat Horridge]

Uhm I posted a long reply and it vanished so heres the shorter version..

With the LUT applied in camera the content is compressed in the dark and light areas (mainly the light) this give more dynamic range during shooting. If you look at the footage with no LUT on you system on a good grading monitor and external scopes as I did it looks sat up in the blacks and low peak whites (around75% max) and low saturation (washed out)
With the Log-s to rec709 LUT in (ie NOT bypassed) it looks more correct. peak whites up near 100% and a better contrast range plus more saturation (possibly too much) and some clipping in the whites.

You have 2 choices either make your transcoded media with the LUT and have the more contrasty look or transcode without and have the washed out look. No point the DP looking and making judgements shooting with Log-c only produces the look in the grade. Not the offline.
There is an option to transcode and not bake in the LUT so the transcoded media still has the option to remove or bypass the LUT but the media won’t playback as well as you effectively have a realtime effect applied.

I’m not quite sure the folks your end quite understand the impact using Log-C to shoot with has but this is it.

Pat Horridge
Technical Director, Trainer, Avid Certified Instructor
Free online Tutorials at VET digital media academy online https://vimeo.com/channels/752951
VET
Production Editing Digital Media Design DVD
T +44 (0)20 7505 4701 | F +44 (0)20 7505 4800 | E pat@vet.co.uk |
http://www.vet.co.uk | Lux Building 2-4 Hoxton Square London N1 6US

[Jon Hensen]

Thanks Michael and Pat.

Funny thing. I’ve been trying to get in an edit bay with a broadcast monitor for days. I finally did and the color is just fine as you said, Pat.

Side note. I brought the same material into Premiere Pro and didn’t have this “accurate preview” issue. It previewed fine in Premiere.

Do you know if AVID as opposed to other NLEs requires a broadcast monitor to see LUT transformations? I understand that in reality all NLEs require this to see true levels, but AVID wasn’t even close without, whereas Premiere Pro was on the money.

Thanks again.

[Pat Horridge]

If it looked right in premiere without a LUT then it premiere must be way off. It should look wrong without the LUT. It is wrong without the LUT applied.

Pat Horridge
Technical Director, Trainer, Avid Certified Instructor
Free online Tutorials at VET digital media academy online https://vimeo.com/channels/752951
VET
Production Editing Digital Media Design DVD
T +44 (0)20 7505 4701 | F +44 (0)20 7505 4800 | E pat@vet.co.uk |
http://www.vet.co.uk | Lux Building 2-4 Hoxton Square London N1 6US

[Jon Hensen]

LUT was applied in Premiere.