Creative Communities of the World Forums

The peer to peer support community for media production professionals.

Forums Avid Media Composer Up-Rez Online Quality

  • Up-Rez Online Quality

  • Ricky Barrow

    January 23, 2017 at 12:45 pm

    Apologies for long post but I wanted to give details.
    Outputs: 1920×1080 only

    Assets – all matching 23.976 TC:
    3 cameras – Canon Mark II recorded:
    UHD 3840×2160 C-Log3 AND
    in-camera 1920×1080 proxies with applied LUT baked in
    Audio recorded separately

    Workflow:
    1 – Created 1080p 23.976 project
    2 – Imported audio media ——– Drive A
    3 – Linked UHD raw camera files ——– Drive B
    4 – Source settings to linked files: 1) Applied downloaded LUT 2) Center Crop (reducing size to fill 1920×1080 screen)
    5 – Created TC groups with linked camera files and audio
    6 – Transcoded linked files to LoRez with baked-in LUT —- Drive C
    7 – Unmounted Drive B with raw camera files
    8 – Source Settings of LoRez transcoded: 1) Center Crop (reducing size to fill 1920×1080 screen)
    9 – Relinked groups to LoRez (video) transcoded files, keeping imported audio
    10 – Edited multiple sequences from groups, switching cameras as needed, matchimg back to LoRez sources and adjusting Frame Flex on select shots to zoom in on 3840×2160 to reframe and make CU shots (no more than 50% to avoid losing resolution) – these reframed shots show up as having an effect on them in the timelines
    11 – duplicated edited sequences for online HiRez
    12- – Unmount Drive C with LoRez transcodes
    13 – Mount Drive B with raw camera files
    14 – Relink raw files, relink groups (relinking only linked files-keeping imported audio), refresh duplicated online HiRez sequences

    Issues and Questions:

    1) The downloaded, applied LUT does not match the in-camera proxies which had baked-in LUT —- Can I get the correct LUT from or out of the camera?
    The reason I did not use the 1920×1080 camera proxies with the correct LUT is to avoid pixelization of the video while reframing through Frame Flex with the client over my shoulder. Possibly I should have used them for more correct color and explained that the pixelization would not be there after online up-rezing? Still, I would need to in-camera LUT they saw when recording.

    2) After the “basic/close-to-accurate” color correction of the correct LUT is applied, I will need to grade some shots for lighting issues. I am hoping to do this in MC and not go to Resolve (I believe the correct workflow for that would have been to start this process in Resolve, although I could still roundtrip from where I am.)

    3) Is this workflow flawed? If so, how can this be corrected? We shot for 3 days and new edited sequences will continue throughout 2017 and I would like to make any changes that need to be made now before we get any farther along. To date we have only edited 15 spots, all being :15’s, :30’s and :60’s. We will have more of those as well as some long form ranging from 3 – 5 minutes.

    Ricky

  • Ricky Barrow

    January 23, 2017 at 1:40 pm

    Issue #4 – to add to above workflow:
    When I remove the drive with LoRez transcodes and relink to raw camera files, my sequences now show all media zoomed in – I am seeing the 3840×2160 in a 1920×1080 window. When I match frame once, I get the group I edited from … when i hit match frame again it matches to the source and the video pops fullscreen as set in source settings.

    Issue #5 – when I match frame once to the group it is like the LUT has been doubled and color is very vibrant but blacks looked crushed and when match framing the second time which matches to the source, I am back to the original linked clip with fullscreen AND LUT all back as originally set.

    Very frustrated as I know my workflow is flawed AND I do not know how to do this correctly!

    Ricky

Viewing 1 - 2 of 2 posts

Log in to reply.

We use anonymous cookies to give you the best experience we can.
Our Privacy policy | GDPR Policy