FORUMS: list search recent posts

Working with 4:3 2.8k ARRIRAW in MC7

COW Forums : Avid Media Composer

<< PREVIOUS   •   VIEW ALL   •   PRINT   •   NEXT >>
Jon Hensen
Working with 4:3 2.8k ARRIRAW in MC7
on Mar 8, 2017 at 11:58:15 pm

Just got handed these specs for a shoot we have coming up and I'm trying to make sense of it.

Does anyone have any experience with this? Is this technically anamorphic and requires a desqueeze in frame flex? If so, how?

I am basically just trying to wrap my head around working with anamorphic footage in MC, and how to work with these particular specs.


Return to posts index

Jon Hensen
Re: Working with 4:3 2.8k ARRIRAW in MC7
on Mar 9, 2017 at 8:23:44 pm

The latest .mxf ARRI RAW is not supported in MC at this moment if anyone cares to know. Gluetools AMA plugin only supported .ari files.

If anyone has experience working with either 2k or 2.8k anamorphic media in media composer, I'd still love to hear any frame flex quick tips. I'm slowly getting there but am having to do quite a bit of trial and error.

Thanks.
-Jon


Return to posts index

Michael Phillips
Re: Working with 4:3 2.8k ARRIRAW in MC7
on Mar 10, 2017 at 12:31:33 am

Where and how do you eventually want to finish and at what resolution?


Michael


Return to posts index


Jon Hensen
Re: Working with 4:3 2.8k ARRIRAW in MC7
on Mar 10, 2017 at 10:03:03 pm

Hey Michael,

Right now we're figuring out the details for the deliverable, but I'll be setting it up for 1080 for now.

Probably edit offline in MC, and finish in our symphony as long as it stays at 1080.

Do you suggest finishing outside of MC?

Oh and we've locked into 2k anamorphic at ProRes 4444. Which I guess means our deliverable will be 1080 after all... unless we make a 2.39 deliverable for theatrical release of some kind.

Any thoughts or suggestions welcomed. Thanks!


Return to posts index

Michael Phillips
Re: Working with 4:3 2.8k ARRIRAW in MC7
on Mar 10, 2017 at 10:52:53 pm

Lots of follow on thoughts and questions.

If working offline first, then you are most likely creating DNxHD offline (36) that is 2.39 letterboxed media in something like Resolve or other. Make sure to properly set up REEL, etc. so that you can have a pain free post process wherever you decide to finish.

I find it limiting to be finishing a RAW source format in Symphony as it cannot take advantage of the source parameters like you would in a dedicated color correction system like Resolve, Baselight, etc. Also, limiting yourself to a letterboxed 1080 master in Symphony when trying to protect for a 2K DCP theatrical should that happen is not taking advantage of the available pixels and introducing unneeded scaling. What version of MC/Symphony are you using? Can you not create a proper DCI 2K for 2:39 and work from that? Master as that, and then create your letterboxed 1080 deliverables from that.

Color space considerations when mastering - are you working in P3 then delivering as needed? Or are you working in Rec 709 and creating a DCP from that?

Who is the colorist on this and what is their recommended practice?


Michael


Return to posts index

Jon Hensen
Re: Working with 4:3 2.8k ARRIRAW in MC7
on Mar 15, 2017 at 9:45:01 pm

Thanks for this Michael. Working with my GM to figure out what we need to do in house to treat the footage with the right respect.

First off, what's the right process to assign the REEL again? I can juts manually do that when I'm creating the DNx 36 proxies right?

Second (and third and fourth... sorry), I see what you mean about finishing in symphony. We are still an MC 7 house. Would you recommend upgrading at least some of our bays to MC 8 to properly set up our sequences to handle the 2k ana raster? Would there be potential nightmare scenarios if we went ahead and did our offline in MC 7 with 1080 projects, then worries about the proper raster settings once we get into online? Can MC 7 sequences be loaded in MC 8?

I'm going to be away from the studio for a number of months and wont be able to shepherd this project as much as I would like. Trying to come up with a plan to leave everyone in good shape.

thanks again.


Return to posts index


Michael Phillips
Re: Working with 4:3 2.8k ARRIRAW in MC7
on Mar 16, 2017 at 1:29:09 am

If making your own dailies in Resolve, then you want to have this setting in Resolve:



You can do your offline just fine in v7.x but consider finishing in Resolve.


Michael


Return to posts index

Jon Hensen
Re: Working with 4:3 2.8k ARRIRAW in MC7
on Mar 16, 2017 at 6:39:35 pm

Thanks, Michael.

Can I make the dailies in Media Composer and still satisfy this REEL specification?


Return to posts index

Michael Phillips
Re: Working with 4:3 2.8k ARRIRAW in MC7
on Mar 16, 2017 at 7:16:08 pm

You can, but you need to purchase an AMA plug-in that supports ARRI RAW from either Glue Tools or Drastic Technologies. Resolve is free. ☺


Michael


Return to posts index


Jon Hensen
Re: Working with 4:3 2.8k ARRIRAW in MC7
on Mar 16, 2017 at 7:49:51 pm

Sorry I should change the post heading, we're shooting 4444 now. So can I just show the REEL column and manually assign in AVID right?


Return to posts index

Michael Phillips
Re: Working with 4:3 2.8k ARRIRAW in MC7
on Mar 16, 2017 at 7:54:19 pm

You can just AMA link and the filename will automatically be tracked in the "Source File" column which will be used in EDL, AAF, etc. Link and transcode. Most likely with an Arri LogC to Rec709 LUT.

Michael


Return to posts index

<< PREVIOUS   •   VIEW ALL   •   PRINT   •   NEXT >>
© 2017 CreativeCOW.net All Rights Reserved
[TOP]