| 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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