Jake Blackstone
Forum Replies Created
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GTX570
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I just want ONE thing- an ability to re-map the panel. Everything else I can take care of myself.
Thank you for your consideration:-) -
Everything I read so far on ARRI Look creation (White paper and Look creator guide) talks strictly about applying the Look as an in camera application. They are talking about incorporating Look for delivery, but, so far, it is a destructive process. I guess, at this point Look creation is in it’s early infancy, so we have something to look forward to in the future.
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Arri Look files designed to be loaded into the camera for on-set use. Baking those looks into Prores would not be same as, say, ARRI RAW metadata manipulation, which is non distractive. Also, I could be wrong, but I’m not aware of a way to carry the Look as a metadata inside Prores.
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Beautiful, thanks Peter. I’m all set now.
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Aha, thanks Peter, I will give it a try tomorrow.
I was mostly hoping to being able to copy the grade from another shot in the timeline without the metadata with something like the regular middle click of the mouse. Is there a way to do it without using the gallery? Just trying to figure this out before starting a feature.
Also, while I have you here Peter. What is the reason, that one can’t undo the pasting of metadata? I find it pretty annoying, when I do it by mistake. -
Yes, I guess Prores 444 route is not so bad. I forgot, that 2K Prores can be created, if it is 2K ARRI RAW. In a pinch, it can be used with Sony too. Good suggestion, thanks!
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Thank you Peter for your response. Yes, I’m hoping for a more unified media consolidation approach instead of a need for some kind of home made solutions.
Neil. We do this kind of consolidation with Alexa Prores on just about every remote grading job. So far not a single client had used ARRI RAW. I’m just hoping, that once that happens, we’ll be able to accommodate those clients as well as F55/F5 clients. -
My original point was to be able to cut down and consolidate ARRI and Sony RAW files in Resolve in order to be able to send files to a remote location for remote grading. So, if ARRI records discreet frames, great. But I need the ability to export only conformed frames with handles, based on EDL, XML or AAF automatically, not manually. As far as MXF wrapping goes, I don’t see Avid not being able to cut down MXF files, even if they are not exactly the same type.
Nevertheless, that was the whole point of asking, if BM was planning to implement this function, not if it is already been done. -
Yeah, that mess was sorted out by now. Resolve 9 does R3D cut downs and consolidation perfectly. No need to use RCX anymore. I imagine Arri and Sony cut downs should be much easier to do, as their RAW files are not encrypted, like R3D.