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ARRI FCP workflow - LUT's & converting .ari sequences to .dpx?!

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andrew smith
ARRI FCP workflow - LUT's & converting .ari sequences to .dpx?!
on Oct 19, 2011 at 12:13:47 am

I posted this in the FCP & Arri forum but have not gotten a response and its time sensitive...I figured maybe somebody here might know this stuff.

I am editing some ProRes Arri footage in FCP and I am working in a vfx pipeline where I will have to hand off dpq sequences of all of this for Maya/AE/Flame guys to use on this 3D spot. I have been given the ProRes versions of the footage to edit with and then will need to pass off .dpx sequences from the .ari sequences we also have. I was also given some LUT's .cube & cdl what would be the best / easiest way to apply these LUT's to my ProRes footage and the .ari sequences? Waiting to hear back from the person who created these .cube & .cdl files on set to find out if we even need them...hopefully they will get back to us but it looks like 3 different .cube files were made (hdlink, iridas & TrueLight) as well as a .cdl - what these are meant for in terms of my workflow is not clear yet.

I have just purchased Nick Shaw's plugin to at least get my fcp sequence with ProRes files looking better and not flat BUT bigger questions still remain. This computer does have the ArriRawConverter app on it but I have never even used it to be honest and its kind of intimidating.

I am not familiar with this workflow and need to know how best to quickly export this stuff for maya & AE guys to use. For now I have been exporting tiff or jpeg sequences from the fcp ProRes sequences for maya timing and such but I know they will want dpx from the actual .ari sequences I assume with the LUT applied. This computer also has Color & AE and the company is willing to buy GlueTools stuff if need be but I wanted to check my workflow and see what the pro's suggest in order to make it fast and painless - as possible :)

Any help would be really awesome.
thank you!

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