I am about to do a job which was shot on the Arri Alexa in Raw 2k format and also ProRes files were created for the offline edit to work with. I am used to just getting ProRes444 but for whatever reasons they are insisting they shoot in the Raw 2k format even though its for bo..this is a spot for broadcast.
I want to know best practices once its time to grade how best to go back to the Raw and do things properly. I imagine the xml sizing info will come in from fcp but I want to make sure I have my sizing settings all correct for the project.
I will get an xml and offline quicktime to conform with and then just reconnect to the Raw files and grade with a LUT as a starting point (as I usually do with Alexa 444 material). One thing I have never done is adjust any raw settings with Alexa because I have only ever gotten the 1080ProRes444 files. I would like to get some advice / feedback about best practices if possible as I have only adjusted Raw setting with RED material and even then I am just setting it to Redcolor3, Gamma3 and RedLog Film. When it comes to Arri Raw I have no idea how to approach compared to the 444 Alexa files.
Arri RAW files have absolutely no benefit in terms of color density over the ProRes4444 Log C files.
They are just 10 times as heavy.
If they used the full 3K files, at least you can get better and sharper results.
But forget the whole RED like workflow with 15 settings and meta data...there is zero :)