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 4909160 for AE-List@media-motion.tv; Mon, 26 Nov 2012 18:51:24 +0100 Received: by mail-lb0-f169.google.com with SMTP id gk1so7833279lbb.28 for ; Mon, 26 Nov 2012 09:55:03 -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=g25ZlIFo6L+acQoXmPDi+YaDxNHd98xzOSbzVVukgEM=; b=zfqq6+rTTd5l8LbpzK8j0RH8Bc1o+wg5t3CI5ptOfgPwnbfRBpHtxoHF/4+gcfBffZ wfi1LlHvqJYVN74xwvrJDrfZ89Uk2L7ZLhge6jygBK84/ol3dj3oRVZTXCEF6t2Vs5ye /iAvTVWQxt6sz0umLMWf5JkFDAS2pI0QomNnPdTfbM897q5HcCk+rfQVLyME24qk80jK 98NcNjBeNJRfy41pxYUnbw/2aIAs2XzIGbL1aaZF978FdFJihsAz4gGr34mU6c0qVGpU HP8EquouP7JWamUqjgUGYPMj22+jQHoU/VOwFdWcHOAoprwblDjF853TZuO3I3gfIrRo jqAA== Received: by 10.152.111.68 with SMTP id ig4mr12009452lab.50.1353952503534; Mon, 26 Nov 2012 09:55:03 -0800 (PST) MIME-Version: 1.0 Received: by 10.112.135.41 with HTTP; Mon, 26 Nov 2012 09:54:23 -0800 (PST) In-Reply-To: References: From: Teddy Gage Date: Mon, 26 Nov 2012 12:54:23 -0500 Message-ID: Subject: Re: [AE] Arri flat To: After Effects Mail List Content-Type: multipart/alternative; boundary=f46d04083b510412bf04cf69a2a6 --f46d04083b510412bf04cf69a2a6 Content-Type: text/plain; charset=ISO-8859-1 Awesome man, thanks. I did a ton of research last night but the metadata info is great. I've more or less figured out a good workflow, with a few things still bugging me. Looks like they shot most of the background plates for in-car greenscreen using the canon c300, and the colors don't match, so the composite looks off. What kind of workflow is needed for mixed footage comps like this? (ie mix of log and r709 footage?) - Match the c300 BG plate directly to the LUT-applied arri footage? - For final output would I remove the LUT effect (or use as guide layer only) on the Arri footage, but leave my color correction baked into the plate? Then export each plate separately? Or just render both baked together and supply the matte? many thanks Erik -T On Mon, Nov 26, 2012 at 11:18 AM, Erik Hansen wrote: > 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 > -- Animator & Editor www.teddygage.com Brooklyn --f46d04083b510412bf04cf69a2a6 Content-Type: text/html; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable Awesome man, thanks. I did a ton of research last night but the metadata in= fo is great. I've more or less figured out a good workflow, with a few = things still bugging me. Looks like they shot most of the background plates= for in-car greenscreen using the canon c300, and the colors don't matc= h, so the composite looks off. What kind of workflow is needed for mixed fo= otage comps like this? (ie mix of log and r709 footage?)

- Match the c300 BG plate directly to the LUT-applied arri footage?
= - For final output would I remove the LUT effect (or use as guide layer onl= y) on the Arri footage, but leave my color correction baked into the plate?= Then export each plate separately? Or just render both baked together and = supply the matte?

many thanks Erik
-T

On Mon, Nov 26= , 2012 at 11:18 AM, Erik Hansen <eahansen@gmail.com> wrote:=
Ok, I'll be that guy. There's been s= ome general lack of knowledge and misinformation in these email chains. Thi= s 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)





--
Animator & Editor
www.teddygage.com
Brooklyn

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