Return-Path: Received: from mail-ia0-f169.google.com ([209.85.210.169] verified) by media-motion.tv (CommuniGate Pro SMTP 4.2.10) with ESMTP-TLS id 4909100 for AE-List@media-motion.tv; Mon, 26 Nov 2012 17:14:41 +0100 Received: by mail-ia0-f169.google.com with SMTP id r4so7467234iaj.28 for ; Mon, 26 Nov 2012 08:18:19 -0800 (PST) DKIM-Signature: v=1; a=rsa-sha256; c=relaxed/relaxed; d=gmail.com; s=20120113; h=mime-version:in-reply-to:references:date:message-id:subject:from:to :content-type; bh=csXk5RcN4sdM6XijojUqWteJo2uBiNghWznKsV7g5bY=; b=jlqjc6escbwswo1IUZY/Ttcl2hdgp6V+7MfOF3adgK4QwkTZ4WbDujMbXpOFxHXoYL agrKj0i+gpNFhNUJMmxF4DTn7tpdu8cDFKzKb69H0ADqq34G5NC0SzXjA+opKFfFI8q+ GeOzfDJakJuPZuTpH1C48i2FRjosK2AbuT8cJhfCFm3p5ax7TMyUKBLAxC+iLZHUEUZP 2DqiUG5lYxp3lwnXTWB1DneUeRUwx1C3U5zr1n611VS3Fi8pJA9lkza4bqwKYPKFaQpx 6yFEFE2vfxqRFsZLgu6iWExTrq1IHhtGBNWyUoMAP96WGg8HQCxfQHto6w+5w3EL/zuJ u1NA== MIME-Version: 1.0 Received: by 10.50.202.73 with SMTP id kg9mr14742272igc.51.1353946699652; Mon, 26 Nov 2012 08:18:19 -0800 (PST) Received: by 10.64.10.72 with HTTP; Mon, 26 Nov 2012 08:18:19 -0800 (PST) In-Reply-To: References: Date: Mon, 26 Nov 2012 08:18:19 -0800 Message-ID: Subject: Re: [AE] Arri flat From: Erik Hansen To: After Effects Mail List Content-Type: multipart/alternative; boundary=f46d0447a25113dcf904cf684820 --f46d0447a25113dcf904cf684820 Content-Type: text/plain; charset=ISO-8859-1 Ok, I'll be that guy. There's been some general lack of knowledge and misinformation in these email chains. This is just a brain dump before I have to go to work. Nothing is automatic. Just because it doesn't seem right, doesn't mean that its wrong. Maybe it's new, to you. Most likely, production recorded LogC and monitored in Rec709. Depending on the DP and budget, they may have created looks for the film. This could be done with the Arri Look system (as metadata within the file), on-set color management (Truelight, LiveGrade, etc) or in the dailies process. At the mimimum, usually a Rec709 transform is applied to the footage for the editorial process. I am not aware of a PC utility to read the Alexa metadata, specifically, but you can use ffmbc and it will read the Alexa metadata. The output will be similar to this (I've only included the relevant information): Metadata: com.arri.camera.ColorGammaSxS: LOG-C - this is the colorspace that the files were recorded in, other option is Rec709 or P3 com.arri.camera.ExposureIndexAsa: 800 - ASA at time of recording, Arri provides different LUTs per ASA, if needed com.arri.camera.LookFileActive: Bleach - Is there an Arri Look associated with the clip (kind of like a LUT) com.arri.camera.LookFileBurnedIn: No - is the above Look burned into the file? (this is good) ClipMetaView on the Mac was designed to read the Alexa metadata. If you are delivering effects only and not color correction, you should be delivering your final shots back with the same color/gamma information as it was sent to you. This way it can be cut into the online and the final colorist can treat it just like the rest of the show. Specific things might need to to be colored in a specific way, you might also deliver mattes - maybe the blood has to be just the right shade of red. However, when you are working on the footage you need to review the footage the same way production did, or editorial is viewing. You will need to apply a color correction, transform or LUT to the footage to work and turn it off when delivering finals. For reviewing of shots and for editorial you will need to deliver with this "look" baked in. There is a specific naming to the Alexa files, I will list below. If you did not get a file with a filename in this format, you may have received a transcode (maybe just a file rename although not likely). You may want to ask for the original file to alleviate any possible issues with editorial manipulating the data. However, you will also need an EDL to trim the shot to just the footage needed. *Arri Alexa (recording to SxS cards, ProRes of DNxHD)* *A001C003_101111_R1K4.MOV* - quicktime filename *A*001C003_101111_R1K4.MOV - camera index/unit A*001*C003_101111_R1K4.MOV - reel counter A001*C*003_101111_R1K4.MOV - clip index A001C*003*_101111_R1K4.MOV - clip counter (event recorded on reel/mag) A001C003_*101111*_R1K4.MOV - shooting date (yymmdd) A001C003_101111_*R*1K4.MOV - camera ID (currently set in menus for *R* ight) A001C003_101111_R*1K4*.MOV - camera serial (in Base 36) Some things to read: http://www.arri.com/camera/digital_cameras/learn/alexa_color_processing.html http://www.arri.com/camera/digital_cameras/learn/log_c_and_rec_709_video.html Good luck! Erik -- Erik Hansen 323-316-3731 eahansen@gmail.com / error1k@me.com twitter @error1k error1k.tumblr.com --f46d0447a25113dcf904cf684820 Content-Type: text/html; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable Ok, I'll be that guy. There's been some general lack of knowledge a= nd misinformation in these email chains. This is just a brain dump before I= have to go to work.

Nothing is automatic. Just because = it doesn't seem right, doesn't mean that its wrong. Maybe it's = new, to you.

Most likely, production recorded LogC and monitored in Rec709. Dependin= g on the DP and budget, they may have created looks for the film. This coul= d be done with the Arri Look system (as metadata within the file), on-set c= olor management (Truelight, LiveGrade, etc) or in the dailies process. At t= he mimimum, usually a Rec709 transform is applied to the footage for the ed= itorial process.

I am not aware of a PC utility to read the Alexa metadata, specifically= , but you can use ffmbc and it will read the Alexa metadata. The output wil= l be similar to this (I've only included the relevant information):
=A0 Metadata:
=A0 =A0 com.arri.camera.ColorGammaSxS: LOG-C -= =A0this is the colorspace that the files were recorded in, other option is= Rec709 or P3
=A0 =A0 com.arri.camera.ExposureIndexAsa: 800 - ASA= at time of recording, Arri provides different LUTs per ASA, if needed
=A0 =A0 com.arri.camera.LookFileActive: Bleach - Is there an Arri Look= associated with the clip (kind of like a LUT)
=A0 =A0 com.arri.c= amera.LookFileBurnedIn: No - is the above Look burned into the file? (this = is good)

ClipMetaView on the Mac was designed to read the Alexa = metadata.

If you are delivering effects only= and not color correction, you should be delivering your final shots back w= ith the same color/gamma information as it was sent to you. This way it can= be cut into the online and the final colorist can treat it just like the r= est of the show. Specific things might need to to be colored in a specific = way, you might also deliver mattes - maybe the blood has to be just the rig= ht shade of red.

However, when you are working on the footage you need t= o review the footage the same way production did, or editorial is viewing. = You will need to apply a color correction, transform or LUT to the footage = to work and turn it off when delivering finals. For reviewing of shots and = for editorial you will need to deliver with this "look" baked in.=

There is a specific naming to the Alexa files, I will l= ist below. If you did not get a file with a filename in this format, you ma= y have received a transcode (maybe just a file rename although not likely).= You may want to ask for the original file to alleviate any possible issues= with editorial manipulating the data. However, you will also need an EDL t= o trim the shot to just the footage needed.

Arri Alexa (recording to SxS = cards, ProRes of DNxHD)

=A0 A001C003_101111_R1K4.MOV - quicktime filename

=A0 A001C003_101111_R1= K4.MOV - camera index/unit

=A0 A001C003_101111_R1= K4.MOV - reel counter

=A0 A001C003_101111_R1= K4.MOV - clip index

=A0 A001C003_101111_R1= K4.MOV - clip counter (event recorded on reel/mag)

=A0 A001C003_101111_R1= K4.MOV - shooting date (yymmdd)

=A0 A001C003_101111_R1= K4.MOV - camera ID (currently set in menus for Right)

=A0 A001C003_101111_R1K4.MOV - camera serial (in Base 36)