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!

On Nov 25, 2012 12:20 AM, "Jim Curtis" <jpcurtis@me.com> wrote:

Yes, sounds to me like they shot in linear color space, which when you view it looks flat and desaturated.  You can use a color space conversion plug (Cineon Converter in Ae), or just put a levels or curves filter on and crush the blacks, and bring up the whites, if needed.  Then, it starts looking more like the log footage you're used to seeing, only with more range in the blacks and highlights.

When I'm working in Pr CS6, I put an adjustment layer over my timeline, and make a "one light" setting that makes the footage look "normal" for viewing in the edit room.

On Nov 24, 2012, at 11:07 PM, patrick Siemer wrote:

Sounds to me like the footage was shot that way intentionally. 

The "flat look" is for when the footage is going to be color graded later. 

 Most people i know tend to shoot that way when they want to decide how it will look in Post.

Prolost.com does a good job of explaining the whole concept, at least for Canon DSlr shooting.

http://prolost.com/blog/2012/4/10/prolost-flat.html

I imagine Arri has some similar workflow.

Just my guess.

don't quote me on the Arri thing.

-

Patrick Siemer

tapeandglue.com

On Nov 24, 2012, at 5:13 PM, Teddy Gage wrote:

    Thanks guys, photoJPG seems to hit a sweet spot between quality and size, or PNG if I need an alpha. Cut the upload from 1.8 gigs to 350 MB. PS Has anyone worked with Arri Alexa footage? I think either the person who did the exports to prores screwed up the compression / color space, or they may have underexposed their whole shoot. There is very little dynamic range and everything looks super flat. Is it possible to check the color space of a specific clip? I don't see it in any of the metadata. Or do I need to do a color space conversion in AE for the Alexa that I'm missing? My gut tells me it was the DP's fault and not the trip to prores.

As for exports, would it be better to add in some 32 bpc curves to expand the DR, and export this "corrected" version? It looks much better and is much easier to work with. Or should I just use that on an adjustment layer, and color correct the effects plates to the neutral footage?

On Sat, Nov 24, 2012 at 7:32 PM, Jim Curtis <jpcurtis@me.com> wrote:

The Avid codecs are free, cross platform, and support alpha.  They take a bit of work to get right, due to the menu options, and that frame size & rate matter.  They work OK with FCP, but not ideal.

Your best bet is ProRes.  If you're on Windows, I've read there is a way to encode, but it requires some hoop jumping.  Google might present the elixir.

On Nov 24, 2012, at 5:36 PM, Todd Kopriva wrote:

> I use PNG in a QuickTime wrapper when I need lossless files and can make do with an 8-bpc codec. For photo-real images, the files are half the size of Animation; it has an alpha channel; and it's nigh-universal (installed with standard QuickTime). The performance leaves something to be desired, but that's OK for my purposes.
>
>> -----Original Message-----
>> From: After Effects Mail List [mailto:AE-List@media-motion.tv] On
>> Behalf Of Phil Spitler
>> Sent: 24November2012 10:10
>> To: After Effects Mail List
>> Subject: Re: [AE] lossless alternative to prores export for pc
>>
>> I would try photoJpeg at 90% - 95% quality.
>>
>> Works great cross platform.
>>
>> No alpha channel though.
>>
>> Phil
>>
>>
>>
>> Phil Spitler  |  Creative Technologist   |  Bonfire Labs  |  t :
>> 415.394.8200  m : 415.571.3139
>>
>> Website <http://bonfirelabs.com/>  | Facebook
>> <http://www.facebook.com/bonfirelabs>  | LinkedIn
>> <http://www.linkedin.com/company/235257?trk=tyah>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>> On Nov 24, 2012, at 10:01 AM, Teddy Gage wrote:
>>
>>
>>      Hi all, looking for the best way to export some lossless clips
>> from AE for an editor to drop in the shots for FCP. I am receiving
>> assets in prores and currently exporting in 8bit 4:2:2, but the file
>> sizes are still pretty huge for upload. Is there a better lossless
>> codec that plays nice with FCP? Either direct from AE or in AME? I
>> don't want to have to export h264 but that may be the best option, at
>> least as offline proxies. My internet is pretty fast (6MBPS up / 50
>> down) but no match for uploading several gigs quickly
>>
>>      --
>>      Animator & Editor
>>      www.teddygage.com <http://www.teddygage.com/>
>>      Brooklyn
>>
>>
>>
>
>
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--
Animator & Editor
www.teddygage.com
Brooklyn

--
Animator & Editor
www.teddygage.com
Brooklyn