[Susan Dempster]

Unfortunately it needs to be in metadata and not just on-screen. Thanks though.

[Susan Dempster]

Thanks so much, this is exactly what I wanted to find out.

Best,
Susan

[Susan Dempster]

Sorry I wasn’t more clear in my initial post. The colorist has the R3Ds to work from.
The piece may have a clip or two removed before sending to the client, but no major editing will take place after grading, and since we are on a tight-ish deadline, it made sense to go ahead and send the project to the colorist before I heard back regarding those couple clips being removed.

So basically, I’m just trying to see if it would be better to:

A) grade from R3D > Uncompressed 10 Bit > Proress 422 (HQ)
or
B) grade from R3D > DNX > Proress 4444

I have to follow one of the above workflows, and I just need to know which is a better way to preserve color data and clip integrity throughout the process. If ProRes 4444 is mainly just for use with an alpha channel, I’ll go the Uncompressed 10 bit > Prores 422 (HQ) route, but I was under the impression that ProRes 4444 contains more color information, so I was initially leaning toward that workflow for that reason.

Thanks again for your time and patience!

[Susan Dempster]

Michael, Why would DNX to Prores 4444 be better than Uncompressed to Prores 422 HQ (unless I have an alpha channel which I don’t)?
I’m sorry if i’m being slow in understanding what you are proposing…

[Susan Dempster]

the piece is edited and I’m in a rush to get it off to grading – the only change that I may end up making is removing one shot before I send the final to the client. Since we are under time contraints, I figured it makes the most sense to go ahead and have it graded – especially since the client has asked for ProRes files and my colorist can’t produce ProRes on their system, so I know I have to transcode to final delivery anyway. I dont’ know if I have explained that well, but hopefully it makes sense.
I am most curious to find out if it’s better to go DNX from Resolve and transcode to Prores4444 or Uncompressed 10 bit from Resolve and transcode to Prores422HQ, as a general workflow rule. Curious if you still think I should go the DNX route and why that would be better than uncompressed?
TIA!

[Susan Dempster]

The client requested a ProRes codec, so I have to transcode to ProRes for delivery….

[Susan Dempster]

Thank you, David and Michael!

It looks like we have 2 options:
1. Resolve “DNxHR 444” transcoded to ProRes4444
2. Resolve “Uncompressed RGB 10 bit” transcoded to ProRes422(HQ)

I know that DNxHR is considered a lossy codec – but I’m not really sure if Uncompressed 10 bit would be less so?
Regardless, if there is little visual difference between ProRes 422 (HQ) and ProRes 4444, and we don’t need an alpha channel, would #2 be a better workflow in general?

Thank you so much – I greatly appreciate your time and your advice!

[Susan Dempster]

I truly appreciate this forum and everyone’s advice. You all made me feel more confident about my decision… purchased the Flanders… can’t wait to receive it!

[Susan Dempster]

That’s great news on the free calibration! thanks for the tip.

[Susan Dempster]

Hallelujah! I just saw that this update had come out a couple days ago but had not installed yet! Just in time! Yay!