Sony F3 – 10-bit color space ? and FCP?

[Michael Gissing]

If the camera is recording to the on board cards then it will be XDCam which I think is 8 bit. But there are many ways to record with this camera including external recorders like KiPro or Pix240.

I would stick to ProRes422 if you want to convert to match your sequence but you can also edit with the XDCam codec native. HQ is not an advantage for this and would just mean bigger file sizes.

[Rosie Walunas]

Well, I’m not exactly sure about the raw files but this details the camera:
https://pro.sony.com/bbsc/ssr/show-highend/resource.solutions.bbsccms-assets-show-highend-pmwf3.shtml

So it looks like the footage could be coming in as 10-bit 444, and have to run through a LUT?

Why wouldn’t HQ make a difference?

Anyone have thoughts on how to handle this camera footage coming in?

Thanks.

[Andrew Rendell]

Quote “So it looks like the footage could be coming in as 10-bit 444, and have to run through a LUT?”

That “could be” is an extremely important phrase… best ask the filming crew what it’s being recorded. Otherwise we can only speculate.

[Rafael Amador]

[Rosie Walunas] “Well, I’m not exactly sure about the raw files but this details the camera:
https://pro.sony.com/bbsc/ssr/show-highend/resource.solutions.bbsccms-assets...

So it looks like the footage could be coming in as 10-bit 444, and have to run through a LUT?”

Could be S-Log with 10 Bit 4:2:2 and RGB4:4:4 if have been recorded with the OPTIONAL “SR-R1 SRMemory recorder” (US$ 9.000), Convergent-Design Gemini 444 (US$ 6.000), or similar.
That’s something that you have to find out, because the workflow is completely different than if has been recorder with the basic XDCAM codec (8b/YUV) or an external recorder like the Ki-Pro, Ninja or NANO-Flash.
So ask the guys who made the shooting.
rafael

http://www.nagavideo.com

[Rosie Walunas]

Okay. Great. Thank you for this information. Still waiting to hear about how it was shot.

But, would it matter if it was transcoded to 422 or 422 HQ? We’re editing in 422. Nothing we’re editing at this point has 444 and I think the edit was planning on not editing 444 because it wasn’t actually making a difference in terms of really opening up the color space and the playback was direly slow.

Thanks!

[Michael Gissing]

If the source footage is slog 444 then you should consider an offline/online workflow so that you can conform the camera files for grading. The purpose of slog and the extra color space is important so if it were me, I would make sure that my transcoding would be to ProRes422 or LT but file naming and reel numbers to match folders would make a reconform process seamless.