I'm in post on my first feature film and could use some advice on setting up a workflow for my vfx and color.
We shot with the Sony f55, slog2. Our gear broke down several times over the 25 day shoot, so we have 3 different types of footage:
Sony Raw / ProRes 4444 / XAVC
We're editing in Media Composer 8. I've been using Adobe Media Encoder 2014 to spit out dpx sequences for my vfx artists.
Of the three formats, only the RAW files let me determine slog2 in the source settings.
In Resolve, I compared the dpx's to their respective source files. The XAVC and ProRes files match just fine, but the RAW files are slightly less flat. Question 1:
Is this unflattening/darkening just part of the process? Or am I doing something wrong?
The next step will be in Nuke. I'm using NukeX 8.0v2. I've only got Slog and Slog1. Question 2:
How can I get slog2 in NukeX 8.0v2?
We'll then lay these new plates back into the edit, and when the edit is locked, send to Resolve 11 Lite. The edit and the color will be done on the same machine, so source file migration is not a huge concern. I plan to do everything on my machine, in the lite version, and then take it to a proper colorist/theater for a final pass and delivery.
It's my understanding that Resolve 11 Lite lets you set up full 4K projects, but just limits your exporting to UHD. Right now, it seems like I can only even set up my project at UHD, and I wonder if this will translate to my last stop with a color house?
What else am I missing? Are any of my "assumptions" wrong here? Thanks everyone! I really appreciate it!