Return-Path: Received: from nk11p03mm-asmtp010.mac.com ([17.158.232.169] verified) by media-motion.tv (CommuniGate Pro SMTP 4.2.10) with ESMTP id 4908398 for AE-List@media-motion.tv; Sun, 25 Nov 2012 16:50:24 +0100 MIME-version: 1.0 Content-type: multipart/alternative; boundary="Boundary_(ID_KiYFO5rw9ru4KKIWlFfKqQ)" Received: from [192.168.1.68] ([99.152.153.100]) by nk11p03mm-asmtp010.mac.com (Oracle Communications Messaging Server 7u4-24.01(7.0.4.24.0) 64bit (built Jan 3 2012)) with ESMTPSA id <0ME1001ZFW5ZMZ70@nk11p03mm-asmtp010.mac.com> for AE-List@media-motion.tv; Sun, 25 Nov 2012 15:54:01 +0000 (GMT) X-Proofpoint-Virus-Version: vendor=fsecure engine=2.50.10432:5.9.8185,1.0.431,0.0.0000 definitions=2012-11-25_05:2012-11-23,2012-11-25,1970-01-01 signatures=0 X-Proofpoint-Spam-Details: rule=notspam policy=default score=0 spamscore=0 ipscore=0 suspectscore=0 phishscore=0 bulkscore=0 adultscore=0 classifier=spam adjust=0 reason=mlx scancount=1 engine=6.0.2-1203120001 definitions=main-1211250142 From: Jim Curtis Subject: Re: [AE] Arri flat Date: Sun, 25 Nov 2012 09:53:59 -0600 In-reply-to: To: After Effects Mail List References: Message-id: <392663CF-5552-4037-9BD9-3FEAB6145F42@me.com> X-Mailer: Apple Mail (2.1283) --Boundary_(ID_KiYFO5rw9ru4KKIWlFfKqQ) Content-type: text/plain; CHARSET=US-ASCII Content-transfer-encoding: 7BIT You can tell if it's 422 or 4444 by looking at the clip info in the Ae Project pane, or by using Get Info in QT Player. The Alexa footage I've worked with (just three projects, so I'm no expert), the camera was connected to a cinedeck via 2 BNC cables, and the native footage was ProRes4444+, or IOW, no transcoding was done or necessary. If it was recorded to ArriRaw and transcoded with settings "baked," you have been robbed of the post-production benefits of recording in RAW. On Nov 25, 2012, at 9:40 AM, Teddy Gage wrote: > OK so j. Penzer said the arri is using log c color space. This is the answer I was looking for. Here's my concern. I am ingesting prores transcodes, not the original camera files. The histogram for this footage in 32bpc is compressed on both sides and very clipped in the middle > a) I am concerned the editor didn't do the transcodes properly. I'm not even sure whether they were converted to 8 bit 4:2:2 or 10bit 4:4:4. I am, unfortunately, one of the more tech savvy people on production. Is there any way to figure this out? > > B) how should I handle final outputs? Should I use color space conversion back to log c on export so it's consistent in fcp? Does fcp do this conversion automatically? > > Thanks! > --Boundary_(ID_KiYFO5rw9ru4KKIWlFfKqQ) Content-type: text/html; CHARSET=US-ASCII Content-transfer-encoding: quoted-printable You = can tell if it's 422 or 4444 by looking at the clip info in the Ae = Project pane, or by using Get Info in QT Player.

The = Alexa footage I've worked with (just three projects, so I'm no expert), = the camera was connected to a cinedeck via 2 BNC cables, and the native = footage was ProRes4444+, or IOW, no transcoding was done or necessary. =

If it was recorded to ArriRaw and = transcoded with settings "baked," you have been robbed of the = post-production benefits of recording in = RAW.

On Nov 25, 2012, = at 9:40 AM, Teddy Gage wrote:

OK so j. Penzer said the arri is using log c color space. = This is the answer I was looking for. Here's my concern. I am ingesting = prores transcodes, not the original camera files. The histogram for this = footage in 32bpc is compressed on both sides and very clipped in the = middle
a) I am concerned the editor didn't do the transcodes properly. I'm not = even sure whether they were converted to 8 bit 4:2:2 or 10bit 4:4:4. I = am, unfortunately, one of the more tech savvy people on production. Is = there any way to figure this out?
B) how should I = handle final outputs? Should I use color space conversion back to = log c on export so it's consistent in fcp? Does fcp do this conversion = automatically?
Thanks!

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