Return-Path: Received: from mail-lb0-f169.google.com ([209.85.217.169] verified) by media-motion.tv (CommuniGate Pro SMTP 4.2.10) with ESMTP-TLS id 4908455 for AE-List@media-motion.tv; Sun, 25 Nov 2012 18:23:44 +0100 Received: by mail-lb0-f169.google.com with SMTP id gk1so7101922lbb.28 for ; Sun, 25 Nov 2012 09:27:22 -0800 (PST) DKIM-Signature: v=1; a=rsa-sha256; c=relaxed/relaxed; d=gmail.com; s=20120113; h=mime-version:in-reply-to:references:from:date:message-id:subject:to :content-type; bh=BsE1gERflfNIMMbV49+hFBeEKwmo/N5wtM8CQIfQIZ4=; b=jmt+OLJrKrwjNcu0LcG2BorVsZyodghtVfonc54gbaFdYx/PyWiHbUY0vosd9uEtT5 1DQz8XjVJjSCbq8Lw2pWern9K0rSwBdv+63B8WXXR5EvBwhqE8fDfjMQORZ5Ij6+9l67 SlzIByfI4FB4GL/xP39vqMI4lmVZxhYzGeOO4owdX0oZOvgj+t3w00aQlf7HBOa6DHfP KTp3Mcqdhcv2Hakjtf3IRTe1YM54l5IHmWPwkgJc90bEc5tzZPgKYmkJ9+Fa0zTOhSKe r7/Z4gQ9xUL2A7TpV72NxkZSG/VqBbTx6BPpoZIL91P8PYnlCMFZaAKB67hf1z4XitTG lZCw== Received: by 10.152.111.68 with SMTP id ig4mr8697098lab.50.1353864442090; Sun, 25 Nov 2012 09:27:22 -0800 (PST) MIME-Version: 1.0 Received: by 10.112.135.41 with HTTP; Sun, 25 Nov 2012 09:26:41 -0800 (PST) In-Reply-To: References: From: Teddy Gage Date: Sun, 25 Nov 2012 12:26:41 -0500 Message-ID: Subject: Re: [AE] Arri flat To: After Effects Mail List Content-Type: multipart/alternative; boundary=f46d04083b512513ea04cf55216b --f46d04083b512513ea04cf55216b Content-Type: text/plain; charset=ISO-8859-1 ok looks like it is 4444, 276 mbps. I wasn't aware the arri encoded directly to prores so that solves one problem, namely what I thought was a bad transcode. Looks like these clips are direct from camera. Now what's the best way for this footage to make the round trip, FX-wise, without destroying the integrity of the 10bit 4444? I'm thinking: - convert to log c color space / 32bpc to work in. Match all FX footage / roto / stock elements to the log c preview? - render back out to lossless QTs in 10bit YUV from AE - do I render in video color space or should I render out in the log c profile? I don't have an HD monitor, I have a high-end "graphics" monitor (the eizo CG222, extremely flat response, color accurate, 99%+ of adobe RGB) but to get an accurate final preview I may throw it onto my HDTV (not ideal, I know, but at least should give me an idea what I'm looking at, right?) Any other tips / gotchas would be greatly appreciated. -TG On Sun, Nov 25, 2012 at 10:53 AM, Jim Curtis wrote: > 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! > > > -- Animator & Editor www.teddygage.com Brooklyn --f46d04083b512513ea04cf55216b Content-Type: text/html; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable ok looks like it is 4444, 276 mbps. I wasn't aware the arri encoded dir= ectly to prores so that solves one problem, namely what I thought was a bad= transcode. Looks like these clips are direct from camera.

Now what&= #39;s the best way for this footage to make the round trip, FX-wise, withou= t destroying the integrity of the 10bit 4444? I'm thinking:

- convert to log c color space / 32bpc to work in. Match all FX footage= / roto / stock elements to the log c preview?
- render back out to loss= less QTs in 10bit YUV from AE
- do I render in video color space or sho= uld I render out in the log c profile?

I don't have an HD monitor, I have a high-end "graphics" = monitor (the eizo CG222, extremely flat response, color accurate, 99%+ of a= dobe RGB) but to get an accurate final preview I may throw it onto my HDTV = (not ideal, I know, but at least should give me an idea what I'm lookin= g at, right?)

Any other tips / gotchas would be greatly appreciated.
-TG


On Sun, Nov 25, 2012 at 10:53 AM, Jim Curt= is <jpcurtis@me.com> wrote:
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 ca= bles, and the native footage was ProRes4444+, or IOW, no transcoding was do= ne or necessary. =A0

If it was recorded to ArriRaw and transcoded with setti= ngs "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 con= cern. I am ingesting prores transcodes, not the original camera files. The = histogram for this footage in 32bpc is compressed on both sides and very cl= ipped 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 the= re any way to figure this out?

B) how should I handle final =A0outputs? Should I use color = space conversion back to log c on export so it's consistent in fcp? Doe= s fcp do this conversion automatically?=A0

Thanks!<= /span>





--
Animator & Editor<= /span>
www.teddygage.com
Brooklyn

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