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What is the workflow for VFX between Premiere to Nuke to DaVinci?
Help! Workflow question:
I have a shot on a
format MXF
4096×2160
compressed on DNxHR 444 10 bit
1940 Mbps
looks like LOG footage or RAW.
Looks like it came from DaVinci Resolve.I need to send it from Premiere Pro to a VFX person working on Nuke. They would like for it to work in EXR.
Premiere Pro has got a bunch of EXR settings that are totally new to me. We have experimented and it’s varying degrees of the result, none of which I’m certain, and the clock is ticking.End of the day I need this composited shot to be delivered to the finishing post house as LOG DPX. Which I’ve never really done before. Neither VFX artist nor post house can help because they only know what they know. VFX artist is used to working EXR and exporting EXR, he has no working knowledge of Premiere.
Coming from the Premiere-to-After Effects world to this new Nuke and Davinci World has not been easy, and post-houses run on limited schedules to troubleshoot. Any help on what exactly I need to push to make this work would be highly appreciated it.
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1 Reply
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before you go down the route of the log to linear nightmare, do they accept EXR? its much easier to work with(and newer). you can do half float which is lossless 16 bit images which is really nice or full 32bpc that can hold RAW’s latitude. That being said, most DPX stuff is full range unless specifically told otherwise(and its in LOG) and 8 bit log losses quality. You can go 10 bit DPX if you go LOG. You can go linear DPX if it is 16 bit or you lose precision. DPX is old and the production pipeline can get muddled if you don’t have a vfx supervisor as all composites have to be converted from log to lin first. This is why most small studios go EXR. It came from ILM and way simpler to use. ie. not mess up as often.
Helpful ?
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