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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 <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 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
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