I'm fast approaching a shoot that needs me to create on-set dailies from the C500, shot in 2K (I don't know if it's 10-bit or 12-bit), synced, LUT(s) applied, then transcoded into DNxHD 36 for offline edit in Avid Media Composer.
I've tried looking everywhere for a tried-and-true workflow that is specific to this situation, but to no avail.
It seems like I can import (I'm thinking the 2K proxies?) into Resolve, apply a standard Cannon Log to ??? LUT, sync, and transcode.
But then, I might (or should?) be able to create dailies using Avid as well (however I'm not sure if Avid is optimal for applying LUTs, save for MC7 or higher - will know soon what version the editor is cutting on).
If anyone has on-set experience creating dailies from C500 footage, I'm all ears.
I don't want to be one of those "I don't have an answer but I will chime in anyway" people (don't you hate those?), but I will... because I don't want you waiting around for an answer that might never come.
I'd be very surprised if you were to find anyone in this forum who has ever dealt with that combination.
That's for three reasons... the C500 is not shot very much. While there are tons of C300 shooters (me included), there's just not many shooting the 500 at all. Secondly, those that do shoot 4K. I don't believe I've ever even talked to a C500 shooter who shot 2K. And lastly, the vast majority of the "C" users (C100, C300, C500) are cutting either with Premiere or FCP (mostly with Premiere, I'm betting)... not many with AVID.
So I think the combination of those three less-than-popular things (C500 x 2K x AVID) is going to make it hard to find someone here who has done exactly that.
Now, I'm sure someone has, it's just that you might not find them in this forum. So my suggestion is, to ask in the various AVID forums, both COW and otherwise. You'll at least narrow your pool down to people that you know use that particular editing platform, and might get lucky that way.
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