Michael Kammes
Forum Replies Created
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As always, excellent info, Oliver.
In the past few months, I’ve noticed a trend with virtually all of the Alexa projects I’ve consulted on….the almost mandated use of LUTs during offline. Rec709, color filters, etc are just not enough. I can only assume that the level of DPs using the camera are used to a more ‘perfect’ offline experience. Id be fine with a Rec709 baked into the ProRes, then a color grade on the ARRIRAW during online. I’m also assuming that due to the development of the Red Giant plugin, Nick Shaws development (plus others) many users are seeing this ‘mandate’ through offline (or editorial) as well.
Its my understanding that the Alexa may have the framework to take 3rd party LUTs, but it obviously has not been implemented….yet. ‘Course, we can always hope FCPX or a future version of Media Composer accepts LUTs in real time!
-Michael
.: michael kammes mpse
.: senior applications editor . post workflow consultant
.: audio specialist . act fcp . acsr
.: michaelkammes.com
.: twitter: @michaelkammes
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To get the ball rolling for discussion, here is what I recommend:
FCP and Avid MC currently have no way of natively importing LUTs on ARRI material.
Thus, we need to use a plugin. Nick Shaw has one that works well for FCP, and may solve your problem:
https://forums.creativecow.net/thread/294/217
His plugins use specific LUTs, and one may be close enough for your purpose.
Short of that, you would have to use an online system (a la Baselight. etc) which can accept the LUTS, then export the baked in LUT .mov, and edit with that.
Personally, I would use Nick Shaw’s Plugin, edit with the LOGC “look” filter, then perform an online elsewhere and link to the ASC LUTs.
Good Luck!
~Michael
.: michael kammes mpse
.: senior applications editor . post workflow consultant
.: audio specialist . act fcp . acsr
.: michaelkammes.com
.: twitter: @michaelkammes
.: facebook: /mkammesHear me pontificate: Speaking Schedule .
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Completely possible…as mentioned LOG ME IN works, I like Team Viewer, personally. Apple also has Apple Remote Desktop. I’
ve bene using these for years for remote monitoring, and the occasional long distance tweak when I need to start a render or encode remotely.The problem you’ll run into is responsiveness and refresh. Expect an inherent (slight) delay in the mouse clicks you make reflecting on your local screen…plus, you won’t see full frame rate during playback. Something hss to give when it comes to pushing the signal over the internet, and frame rate is one of them. Usually, color is dumbed down as well to improve responsiveness, although this usually something a user can change.
~Michael
.: michael kammes mpse
.: senior applications editor . post workflow consultant
.: audio specialist . act fcp . acsr
.: michaelkammes.com
.: twitter: @michaelkammes
.: facebook: /mkammesHear me pontificate: Speaking Schedule .
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To recap, you know Media Composer supports the Matrox MXO 2 Mini, and the AJA IO Express and DS supports the Kona 3.
Digidesign (Avid Audio) has gone to ProTools Native, which uses any audio I/O.
All this has happened in the past year. I don’t think it’s a stretch to see that Avid is opening up to third party hardware.
As they are a public company, Avid’s policy is to not comment on future products. But if this past year has changed the whole way Avid deals with 3rd party hardware, well, that kinda says something about the direction the company is heading, doesn’t it?
~Michael
.: michael kammes mpse
.: senior applications editor . post workflow consultant
.: audio specialist . act fcp . acsr
.: michaelkammes.com
.: twitter: @michaelkammes
.: facebook: /mkammesHear me pontificate: Speaking Schedule .
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Well, that poses more questions:
The AVC-Intra codec board was introduced for the Nitris DX in MC 5.5. This allowed for capture, but more importantly, Real Time playback of AVC-Intra via AMA…and it should not effect IMPORTING of an AVC-intra file. (Someone please correct me if I’m wrong) Remember, importing converts the file to whatever Avid codec you choose.
Are you importing or trying to edit with the raw file (AMA)?
So I don’t believe this Nitris issues applies to use, since I do not believe 5.0.3 (what version are you at? 5.0.3.8?) supported AVC-Intra.
What’s different on this machine than the others?
~Michael
.: michael kammes mpse
.: senior applications editor . post workflow consultant
.: audio specialist . act fcp . acsr
.: michaelkammes.com
.: twitter: @michaelkammes
.: facebook: /mkammesHear me pontificate: Speaking Schedule .
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OK, I see now.
Will RAW AVC-Intra play at the OS level, inside an AVC-Intra player? Not a QT Ref.
Is your Quicktime version the same on all machines?
If you export out of Avid JUST a qt ref of AVC-Intra, does that work…OR does the white frame and error only happen with a mixed coded qt ref?
Have you tried various uninstall applications to rid your system of the AVC-Intra codec, then rebooted and re-stalled the codec?
~Michael
.: michael kammes mpse
.: senior applications editor . post workflow consultant
.: audio specialist . act fcp . acsr
.: michaelkammes.com
.: twitter: @michaelkammes
.: facebook: /mkammesHear me pontificate: Speaking Schedule .
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FCP and Avid MC currently have no way of natively importing LUTs on ARRI material.
Thus, we need to use a plugin. Nick Shaw has one that works well, and may solve your problem:
https://forums.creativecow.net/thread/294/217
His plugins use specific LUTs, and one may be close enough for your purpose.
Short of that, you would have to use an online system (a la Baselight. etc) which can accept the LUTS, then export the bakjed in LUT .mov, and edit with that.
Personally, I would use Nick Shaw’s Plugin, edit with the LOGC “look” filter, then perform an online elsewhere and link to the ASC LUTs.
There is also an ARRI forum here as well.
Good Luck!
~Michael
.: michael kammes mpse
.: senior applications editor . post workflow consultant
.: audio specialist . act fcp . acsr
.: michaelkammes.com
.: twitter: @michaelkammes
.: facebook: /mkammesHear me pontificate: Speaking Schedule .
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Can you open the file at the OS level?
Is this from a P2 Camera? I presume this is a camera original, so is it in the original file hierarchy / folder structure?
Also, are you trying to link via AMA or Import?
~Michael
.: michael kammes mpse
.: senior applications editor . post workflow consultant
.: audio specialist . act fcp . acsr
.: michaelkammes.com
.: twitter: @michaelkammes
.: facebook: /mkammesHear me pontificate: Speaking Schedule .
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Look into the Episode family by Telestream.
https://www.telestream.net/episode/overview.htm
Excellent flexibility and has the ability to create files that many playout servers need.
~Michael
.: michael kammes mpse
.: senior applications editor . post workflow consultant
.: audio specialist . act fcp . acsr
.: michaelkammes.com
.: twitter: @michaelkammes
.: facebook: /mkammesHear me pontificate: Speaking Schedule .
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Hey Mark-
Thanks for the clarification.
The question still remains: what is the purpose of this video? That will determine the codec. Is this an export for web? iPhone? Or a master hi res file for archiving? All of my points from the original replay stand. Need to know what requirements you have so we can shoe-horn the encode to match that – “deliverables”.
I can make an assumption (crosses fingers) that if you are attempting to export AVCHD, and you are looking for a small file, that h.264 may be your best bet. That’s pretty common for smaller file sizes but retaining most of the quality. (However, that being said, it’s not best for a mezzanine file for further encodes later) Remember, there has to be a trade off somewhere – you want a smaller file size? Ya gotta deal with some compression artifacts.
So, we need more info.
~Michael
.: michael kammes mpse
.: senior applications editor . post workflow consultant
.: audio specialist . act fcp . acsr
.: michaelkammes.com
.: twitter: @michaelkammes
.: facebook: /mkammesHear me pontificate: Speaking Schedule .