Michael Phillips
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COW Coin
Forum Replies Created
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You can always override that with the menu is the color encoding tab to be Sony S-Log2 – that basically helps the “auto” apply the proper LUT when clicking “auto”. But the result most likely will not be different than you applying the S-Log2 LUT manually and setting the color encoding to “unknown”.
The fact that your column shows “709” is telling – I’m not saying that it can’t be wrong, but it’s reading the metadata from the file through Sony’s developed AMA plug-in. And as Dr. House always said on the show “House”: – “people lie”.
🙂
You might want to make sure this is not being double LUT’d somehow and either select S-Log if given the choice, or select “unknown” and apply the S-LOG2 LUT manually.
Michael
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The metadata for that is in a column called: “CaptureGammaEquation” and is part of the Sony AMA plug-in metadata extraction. It also declares it’s source and can be seen when doing to source settings and looking at the top menu of the color transform tab. In my tests with 4K XAVC, the “auto” worked as intended, and I would then go and remove the LUT if I did not want to have it. The following screenshots will show you what I am seeing and what the file looks like with or without LUT.
Michael
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The “assume” part is always the part that leads to issues. As mentioned, the best thing to do is ask the DP or DIT what the camera was shooting in and if any other “tweaks” were done beyond that. I have found the metadata on source clips to be a bit hit and miss and find that MC’s “auto” can pick one of the many that may be applicable, but may not be the right one. I have four different S-Log LUTs from Sony and they are all pretty close to each other looks wise, so I tend to go through them all and see what I am getting via the histogram or in the scopes in color correction. When all else fails, I do a correction in Resolve based on a base test chart and export a 3D LUT from there that I use in Media Composer. Same thing for ASC CDL.
Michael
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Well you can rename the numbered folder, but the limitation is that Media Composer will read it, but will not index any new material added to it. Media Composer itself will always want to render, capture, transcode, etc. to the “1” folder until it reaches its file size limit and automatically create a “2”, then “3” etc.
When working on “dailies” for projects, I will put my transcoded MXF files for day 1 into a folder 11, then day 2 into 12, etc. This leaves MC to do its things for renders and such, but the original dailies files are segregated by day. Just note again that none of these folders can be targeted from within Media Composer. This is a half solution and needs careful attention to be useable.
Michael
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Avid only goes as far as drive for mediafile management. There is no targeting or creation of project based mediafile folders done by Media Composer. There are tricks to managing manually but comes with limitations.
Michael
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If you want to manage your projects that way, and edit via AMA, then transcode to ProRes in Resolve rather than DNxHD. It is still surprising that it takes more steps to deal with Avid’s native codec format than with others formats.
Michael
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sounds about right – those would be my odds as well.
Michael
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It sure is – just capture each of the formats in their appropriate project types NTSC or PAL then progressive or 23.976 or whatever it might be. Then you will bring those together in whatever project format you want to deliver to YouTube. Since there are no real frame rate requirements for streaming, it can be 23.976, 24, 25, 30 but I would say always work progressive as computer and mobile screens are progressive, as are all flat screens, and theatrical… off on a tangent, but interlace should just go away as it was originally conceived as a means of compression when going to air… I digress…
The formats are Rec.601 video levels meaning that black is 16 RGB and white is 235 RGB. Work that way till the end, then when exporting for encode, select RGB which will expand 16-235 to 0-255 to look right on computer type screens.
Michael
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I see the same behavior and don’t know of a way it work. I also think that this has never worked this way so it will more of a feature request than a bug fix. Even renaming the original group clip does not show up in the timeline as it always shows the original clip name.
Michael
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Good point. I have found “auto” to really only work on files that can be opened via QuickTime. Even unique files like .r3d have had trouble with “auto”.
Michael
