Chris Lundy
Forum Replies Created
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Can you say if this fixes the issue folks have been having with DNX mxf media on input and output?
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Thanks guys. It does seem the Arri Look workflow is in it’s infancy and my end up staying there. I know the LUT Generator workflow from an Arri Look but then the operator must manually apply the right LUT to every shot. My experience is CDL is much more useful in a full pipeline from dailies to finishing. Was just hoping that Blackmagic had done some Arri Look implementation as that would be “automatic” since the values are all embedded in the ProRes.
Oh well.
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The Alexa ProRes that is written when using a Look in camera does indeed embed the Look metadata in the Quicktime file itself. It’s non-destructive. If you use Media Inspector on Mac you can see all this data in the header. When you play the file it has the raw LogC color. But any application that is Arri Look aware can parse the metadata from the ProRes and use it to apply that Look non-destructively. Colorfront’s On Set Dailies system can do this for dailies work. But the question is what about finishing? The ideal is that Resolve (or other color systems) could parse this same metadata and apply it. Then the finishing colorist can start from the same place as dailies if he wants. Or at least see what the DP had applied initially.
I just can’t seem to find anyone else really supporting these Arri Looks.
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Yes indeed, Colorfront is much more powerful for dailies. Although with Blackmagic adding some of these functions now I think they’ll find they need to keep adding more, or tweaking the way they work, in order to assuage the folks looking to do dailies.
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Yes, Konstantin’s recommendation is what I just stumbled on. If I make several presets then I can call on the ones I need and add them as new jobs without leaving the project.
Now I also realize I can’t “flash” burn TC while leaving a Property of overlay there all the time. Oh well.
My last thing is getting Audio TC burn-in. I’ve done a sync with .wav files recorded on set but I get no Audio TC metadata for a burn-in and I don’t see it in an ALE export. I don’t even see audio channels listed in the ALE export.
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Exactly right. So the Deck Control Preset in FCP always needs to be 29.97. If your preset has 59.94 it will not work.
Chris Lundy
PostWorks, New York -
I would call that true-ish. The timecode on the decks in those formats still only count in 30.
Chris Lundy
PostWorks, New York -
Have found this 1 frame offset happens quite often here too. No two outputs go the same every time. It could be early a frame and then a redo with no settings changed will land correctly. INT REG is what the deck is always set to and this still occurs. It happens most when formats are being converted or pulldown is being added, but it happens on straight across outputs as well.
As for VTR-Xchange, it does seem more accurate, although not every time either. AND it can’t do Assemble edits, only Inserts. That’s pretty useless for long layoffs where you are not striping an entire tape.
My 2 cents.
Chris Lundy
PostWorks, New York -
I recently had this happen after a Kona driver update. Turned out the Device Control preset in FCP called “…VTR B” had the wrong framerate. It had 59.94 when it should be 29.97. (Timecode on the deck is still counted at 29.97, there is no SMPTE standard with 59.94 timecode).
I tried manually changing it and still had problems. Instead I built a fresh one or duplicated the “VTR A” of a Sony preset and made my changes. Make sure you have Panasonic in your new preset.
Chris Lundy
PostWorks, New York -
I understand your explanation, but I don’t agree it’s always been this way. I just booted into my FCP 5 system with 3.4 Kona drivers and when you launch ETT you can make changes to what it’s referencing before the actual output begins. I’m pretty sure 4.0 drivers did the same as well.
Chris Lundy
PostWorks, New York