Robert Monaghan
Forum Replies Created
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Hi Michael,
After doing some reading of this thread, it appears that you are a bit a bit out of the loop on some of the products out there. Understandable, as you need to have a workflow that is solid.
– S.Two has yet to support ARRIRAW v3.0 headers. (This is a big deal.. I have been told that they are completing support for this new file format.)
– Codex and Keisoku Giken do support ARI files, and should also support v3.0 before the Alexa is released.
– Several vendors support ARRIRAW now.I have been building a brand new suite to tools to retrofit Final Cut Pro to do a proper conform. This is regardless of the image format. The tool is designed to work with DPX frames, as well as ARRIRAW and Phantom Cine files.
Specifically for ARRIRAW (and eventually Phantom Cine files) you can apply ARRI’s color science to a ProRes movie, to do Exposure and Color Temperature adjustments
—- without Rendering —-
Once you have your choices are made, you can quickly conform to the ARRIRAW files, and have the changes preserved. (The software will even update the ARRIRAW v3.0 file with the new changes.
We have also added the ability to use CDL as well as 1D,3x1D and 3D LUTs on the timeline, too.I’ve worked closely with ARRI for over a year to get this built. It will make an ARRI workflow as easy as a ProRes only workflow, but permits the same powerful image manipulation capabilities as RAW.
I hope to have the tool available for the end of June.
A Quick Question..
I know for a fact that 2K DPX is exactly the same data size as 2K ARRIRAW. So if you were to do 2k DPXs, wouldn’t your data requirements be the same if you converted your R3D footage to DPX?bob..
Robert Monaghan, CEO
Glue Tools LLC
629 State St. Suite 220
Santa Barbara, CA, 93101
United Statestel: +1 805 456 7997
fax: +1 805 456 7998 -
I am working on a workflow for ARRIRAW (and Phantom Cine raw.)
You should be able to do a number of things in FCP very easily.
(Online/Offline conform, Realtime Color/EI/White Point changes, and ARRIRAW playback.)I am going to try to have a version ready for the Alexa release.
bob.
Robert Monaghan, CEO
Glue Tools LLC
629 State St. Suite 220
Santa Barbara, CA, 93101
United Statestel: +1 805 456 7997
fax: +1 805 456 7998 -
Hi,
Upgrade to FCS3 and Snow Leopard. This fixes the Gamma Shifting problem. It also fixes the Color Roundtrip issue with DPX frames.
It will also allow you to use our future updates, as we will be dropping PowerPC and MacOSX 10.4 & 10.5 support in the coming months.
Once you upgrade, you will need to find out why Compressor is crashing. You will have to get that working. Without Compressor, your frames exported from “Export Using QuickTime Conversion” will never look right, be clipped to 8-bit and will not have metadata or Time Code.
Bob..
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Hi Mathieu,
We have an update of our CineonDPX package coming up. I can send you a beta copy, in which I’ve been doing some Gamma Shifting fixes. I would be curious to see how this works for you.
Email me at support at gluetools dot com.
bob.
Robert Monaghan, CEO
Glue Tools LLC
629 State St. Suite 220
Santa Barbara, CA, 93101
United Statestel: +1 805 456 7997
fax: +1 805 456 7998 -
Hi David,
We provide a Phantom Cine Toolkit for FCP. It does a number of things which will make your editorial life better. One of these is adding a Time Code track to the Phantom Clip, which will make it possible to conform with Phantom footage. (We also sell a separate DPX package, which allows FCP to work directly with DPX footage too. But it may not be helpful to you.) Download a demo from our site..
bob.
ww.gluetools.comRobert Monaghan, CEO
Glue Tools LLC
629 State St. Suite 220
Santa Barbara, CA, 93101
United Statestel: +1 805 456 7997
fax: +1 805 456 7998 -
Hi,
We have a Phantom Cine Toolkit for the Mac, that lets you natively open the Phantom Footage in any QuickTime compatible app. This include Final Cut Pro, Compressor and After Effects.
It allows you to preserve the 16-bit depth until you export to your target format.bob.
https://www.gluetools.comRobert Monaghan, CEO
Glue Tools LLC
629 State St. Suite 220
Santa Barbara, CA, 93101
United Statestel: +1 805 456 7997
fax: +1 805 456 7998 -
Hi Kevin,
I think the problem here is that there isn’t an automated way to move DPX sequences from Final Cut Pro to Color, and back. Currently, the only way, is to transcode the movies into an intermediate format, such as the AJA 10-bit RGB movie. Naturally, this takes time. Other users have worked out ways, using aliases and EDLs, to make a “round trip” system. I believe it involves creating an alias to the first DPX frame, using the file name of the DPX frame, with a “.mov” extension instead of a “.dpx” extension.
While this “mostly” works, ideally what is required, is a proper tool.
Bob..
http://www.gluetools.com