[Daniel Neutzsky-wulff]

Yeah, it says that I already have a later version of the Decoder installed. I was just told the footage was shot on:

AG-HMC 151 Panasonic

[Daniel Neutzsky-wulff]

Hi Angelo,

Thank you for your response.

I can’t output to ProRes HQ from Windows, but I’ll do an Avid DNXHD 175+ export of the final program from Premiere Pro.

Thanks!

Best Regards,
Daniel

[Daniel Neutzsky-wulff]

Okay, thanks a bunch! I’ll come back to this thread when the job is done and do an evaluation. 🙂

[Daniel Neutzsky-wulff]

Hi Jon,

Thank you for your advice. I have recently swapped from Final Cut and Premiere Pro, so I really need to get this down before I mess things up during the post process. I’ve updated the workflow, incorporating your advice. Can you run through it and see if it makes sense?

Thanks a lot for your help,
Daniel

UPDATED ALEXA WORKFLOW:

LOAD & EDIT

1. AMA link to ProRes 4444 files from the ALEXA camera in AVID.
2. Transcode to DNxHD 36.
4. Add Arri Alexa LUT Color Correction to an empty track.
3. Complete offline edit.

PICTURE LOCK

1. Relink to AMA files.
2. Export AAF.
3. Import AAF into Resolve 9 and finish grading.
4. Render graded footage to full quality DPX files to separate folders.

VISUAL EFFECTS

1. Import DPX files to AE for visual effects work.
2. Complete visual effects work.
2. Render back out as DPX.

FINISHING

1. Add rendered DPX files from AE into media pool in Resolve.
2. Insert new DPX files into copy of graded sequence in Resolve.
3. Check for errors or inconsistencies.
4. Render out as DNX185X MXF for master.
5. Use media tool in Avid to bring the master into your project.

DELIVERY

1. Deliver final master DNX185x MXF to client.
2. Deliver previews in MOV/MP4 container to client.

[Daniel Neutzsky-wulff]

I tried to render the files out with “QuickTime DNxHD 1080p 220/185/175 10 bits”, but the grade looks different on the exported versions. They have less contrast for some reason and the XML file won’t import into Premiere Pro. “Generic error has occured”.

Any ideas?

[Daniel Neutzsky-wulff]

Does it make any difference whether I render out as H.264 and roundtrip back to Premiere and THEN export to DNxHD185 X for my master?

[Daniel Neutzsky-wulff]

Okay, can you give me a link? What sort of hardware legalizer? A scope of some sort? How does it work in practice?

[Daniel Neutzsky-wulff]

Okay, thanks. This is a spec. I was given AFTER I completed the grade. So, I’ve been grading using the full range 10 bit (0-1023). Do I need to manually go through each grade and make sure it’s between 64-940 on my waveform scope or is it possible to make it broadcast safe on export? Either from Resolve or Premiere Pro.

[Daniel Neutzsky-wulff]

I am having similar problems and I thought about exporting a self-contained movie and then running scene detection in Resolve as well.

My question is:

What format should I export to?

My project was shot on a 5D MKIII and I’ve edited the H264 files natively in Premiere Pro. I am on a PC running Windows 8. Final delivery is for TV in Europe.

[Daniel Neutzsky-wulff]

If I can’t get an XML working I will have to export a self-contained movie and use scene detection in Resolve.

What format should I export to from Premiere Pro? I am on a PC running Windows 8. All of the footage is native H264 files from a 5D MKIII.
Final delivery is for TV.