[Daryl K davis]

Apologies to Shane for mis-spelling your name…

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DK Davis / Editor/ Post Super
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[Daryl K davis]

As Shayne said, shoot 24p & edit 24p and deliver to whatever Broadcaster specs are. 24p is international mastering format so much better to output PAL from that as well. That is how every major movie and TV series is done that has International distribution specs.

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DK Davis / Editor/ Post Super
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[Daryl K davis]

Yes, it keeps the source time-code on ProRes export in REDCINE-X. To keep Log colorspace I export with REDLog Gamma Space setting.

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DK Davis / Editor/ Post Super
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[Daryl K davis]

ProRes 4444 is not necessarily Rec.709 exclusive. You can work with ProRes files with Log C encoding.

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DK Davis / Editor/ Post Super
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[Daryl K davis]

I’m not sure where you read that because original LogC media shouldn’t be affected if you apply proper non-destructive workflow procedure. As well, I do know that LogC media isn’t affected by media managing in FCP.

Anyways, I’ve work with this particular plugin in two different ways.

– Method 1 (for project shot entirely on Alexa) was to apply plugin (filter) and Batch Export footage from FCP to a more manageable lower data rate codec such as ProRes proxy and work with that while editing. When picture is locked send an XML for Resolve that colour-grading facility can re-link to original 4444 media (which you haven’t touched).

– Method 2 (for quickie project that had some b-roll footage shot with Alexa) was to apply the Rec709 filter on media clips within FCP so you can monitor properly, and proceed to edit with LogC ProRes footage from camera . Note that I had to render these shots in timeline because I wasn’t editing in 4444. After you create your XML for Resolve you can remove the filter from XML list using a program like removeFilter. The colour-grading facility can re-link to original 4444 media, again which really isn’t affected by working in FCP.

There is a ARRI Alexa LogC to video FCP LUT plugin User Guide by Nick Shaw that outlines both workflows that comes with the plugin.
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DK Davis / Editor/ Post Super
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[Daryl K davis]

When I’ve come across this situation I generally send/receive the backup media hard-drive. Then they can copy over media from that to their hard-drive.

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DK Davis / Editor/ Post Super
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[Daryl K davis]

I have used this plug-in. pretty straightforward process.

Nick Shaw’s FCP 7 plugin for viewing ARRI ALEXA LogC as Rec.709 in the Final Cut Pro timeline, as well as batch processing dailies.

https://antlerpost.com/Plugins.html

I don’t mean to plug this particular plug-in exclusively so I also believe there are other plug-ins out there for this purpose as well.

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DK Davis / Editor/ Post Super
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[Daryl K davis]

Where do you even buy FCP 2 or 3 anymore? Does one take their chances with Ebay?

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DK Davis / Editor/ Post Super
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[Daryl K davis]

Whenever I’ve run across this message it’s sometimes a corrupt video file, but more than likely a still image that’s either too big or it’s in CMYK format instead of RGB.

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DK Davis / Editor/ Post Super
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[Daryl K davis]

OK, figured it out.

Had to do a firmware update on the borrowed SONY PDW-U1 deck. Transfer speeds are now at 2.9x as opposed to .3x before.

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DK Davis / Editor/ Post Super
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