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| 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 A001C003_101111_R1K4.MOV - camera index/unit A001C003_101111_R1K4.MOV - reel counter A001C003_101111_R1K4.MOV - clip index A001C003_101111_R1K4.MOV - clip counter (event recorded on reel/mag) A001C003_101111_R1K4.MOV - shooting date (yymmdd) A001C003_101111_R1K4.MOV - camera ID (currently set in menus for Right) A001C003_101111_R1K4.MOV - camera serial (in Base 36) Some things to read:
Good luck! Erik
Erik Hansen 323-316-3731 eahansen@gmail.com / error1k@me.com twitter @error1k error1k.tumblr.com |
