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Nick Ravich
May 26, 2018 at 7:10 pm in reply to: Ensuring I’m exporting from camera originals and not the proxies?

Thanks for the Memorial Day weekend responses fellas. What I thought was the case but wanted to make sure. Nick.
Nick Ravich
February 19, 2016 at 4:37 pm in reply to: Exporting and keeping Log S color/gamma look?

OK, so I think I misread you.

It’s not that the outputted file had some kind of natively baked in color correct, it was that QT app played it with a default/ applied correction.

So theoretically, if the designer brings these files into Premiere and/or After Effects that QT player correction shouldn’t happen? The files color should read more natively?

Nick.
Nick Ravich
February 19, 2016 at 4:24 pm in reply to: Exporting and keeping Log S color/gamma look?

Thanks Michael. Someone on Avid forum suggested DNxHD175x/185x/220x.

Here’s what he wrote – Welcome to ProRes. Inside MC, that is defined as Rec709, and when you export Same As Source, the resulting file is fine, but QT player will have a flag that ‘corrects’ the display mode so that Rec709 legal is expanded to sRGB (for display on computer monitors).
I’d opt for DNxHD175x/185x/220x.
Nick Ravich
June 17, 2015 at 2:02 pm in reply to: RED 4K to Avid 1080 workflow

Thanks Michael.
Just had to google “debabyer”.
Basically a color space convertor?
Presumably I should work in an RGB Avid project when working with RED material? And YCBR for basically all else?
Nick.
Nick Ravich
June 17, 2015 at 1:56 pm in reply to: RED 4K to Avid 1080 workflow

Thanks Eric.
Love it – friends don’t let friends shoot 1080 with a RED.
Will definitely keep in mind.
NIck.
Nick Ravich
June 16, 2015 at 6:59 pm in reply to: RED 4K to Avid 1080 workflow

Glad we connected Michael. Thanks for all the info.

Agreed MC8 has some nice additions. Esp that source side LUT.

Understood about MC7 vs MC8 ingest issues. So this new DNxHR codec is specifically for 2K & 4K frame sizes, ie above and beyond 1080?

Understood about maintaining 10 bit. Tho irritating AVID has no way of denoting what is or isn’t 10 bit.

I realize I need to get my head straight on the MC-Resolve coloring workflow. Last finish process we went thru I delivered MC sequences and media in final HD codecs; onliner color corrected mainly in MC, and worked in Resolve on a couple of isolated moments. I think he outputted ProRes files out of Avid, brought them into Resolve, then outputted out of Resolve back into MC. No doubt cumbersome process, where we proly lost finer color grading potential of Resolve in all those translations.

Nick.

Nick.
Nick Ravich
June 16, 2015 at 4:23 pm in reply to: RED 4K to Avid 1080 workflow

Hey Michael, thanks for all the details.

I’m coming back to AVID after some time away and just getting grounded. If you got a sec, have a couple of bigger picture AVID questions.

*I realize my small prod house is running 7.0.2 Media Composer, pre-subscription. Looks like latest level is 8. Wondering what I’m missing out on in terms of transcode quality/codecs/color correcting?

*Also, started ingesting footage in MC 7 for 4 hour long series that we won’t finish/CC until a year from now. Typical work flow is AMA/consolidate except in cases – like RED or HDSLR footage – where codecs not native and then I transcode. Wondering if I’m losing anything picture/color wise by not upping the ante to MC 8 now for the ingest?

*Really lost on Media Composer and color bit. Now that there’s more and more 10 bit color option cameras, really unclear to me if MC is preserving the 10 bit color. Color bit doesn’t seem to be an option in bin columns. And project settings don’t list color bit either, just color space. FYI – Hope editorially lock in MC, but color correct in Resolve.

Let me know when you can.

Nick.
Nick Ravich
June 16, 2015 at 3:58 pm in reply to: RED 4K to Avid 1080 workflow

Thanks Michael.

Yeah, gonna be some overnight transcoding.

Will def check and make sure I have the latest RED AMA plug in.

Arri footage is Avid native? Interesting . . .

Nick.
Nick Ravich
June 16, 2015 at 3:24 pm in reply to: RED 4K to Avid 1080 workflow

Many thanks Michael.

Doing the transcode now using the process you suggested. Definitely taking AVID a while to down frame size and re-codec the RED stuff. At DNxHD 220x guessing these are gonna be big files.

Turns out I shot the “UltraHD” frame size – 3840 × 2160 – and Avid AMA linked clip recognized as 1080/16×9. So didn’t have to use the FrameFlex crop. Tho that’s a super cool tool to know about.

Couple of questions if you’ve got a moment-

*I noticed I have to burrow into each individual RED clip folder in the AMA tool in order to link to individual clips. Definitely a hassle. A way around this?

*So there’s no consolidating RED original footage in AVID, just transcoding?

And so it does sound like there’s some benefit to shooting 4K/UltraHD original, even if we’re ultimately editing/mastering 1080.

Thanks again,

Nick.
Nick Ravich
June 16, 2015 at 2:47 pm in reply to: RED 4K to Avid 1080 workflow

Thanks Ricky.
Yeah, I’m a bit of a late adopter as well.
Starting to see the error in that now.
Nick.

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