project setup going from RAW to DCP
Posted: Thu May 18, 2017 7:43 pmHi all - wanted to ping the boards for advice here as I start on my first feature grading assignment. (woo hoo!) Usually I'm in the commercial world but I'm seeing this as a chance to experiment around with my workflow on this cute little indie. Sanity check!
The film was shot RAW 4:1 on a Ursa Mini, 4.6k. It's meant for the festival circuit so there will be a DCP in my near future - a dance I've not done but have had others describe the process, and I've seen some of the guides online. Looks doable.
Specific question - my instinct is to set up a log timeline to preserve as much as possible, and then eventually output all the deliverables from there - DCP-P3, vimeo/youtube - sRGB, broadcast prores - rec709, etc. I suppose there may even be an HDR output at some point down the line although it's a romcom, so nothing really would take advantage of that space (what is it, rec2020?). But I'd hate to clip highlights just in case they want to go out to that down the line. Eh, why not...
Anyway, does a log timeline make the most sense for a film shot RAW, giving me the most grading latitude and flexibility for all the various exports later? Or am I overthinking it? Nothing about the film really screams log, it's just the idea of doing it right/properly.
Question - do the controls still work mostly the same in log space as rec709, or do they work in native log and behave differently? Can I still monitor a log timeline rec709
If I work in BMDFilm log, are there reliable luts that can convert to P3, etc from there? I feel like Arri's log-c can be lutted across to about anything reliably and accurately with the lut generator on their site, but not sure if BMDFilm would have the same reliability and LUT availability. I would love to hear someone's delivery process and if those luts exist somewhere.
Sorry, big questions, I know - I guess in a nutshell, what's your preferred RAW grading workflow for film fest/DCP export? Do all of you indie graders swear by Log, P3, or stick with tried and true rec709 for simplicity?
The film was shot RAW 4:1 on a Ursa Mini, 4.6k. It's meant for the festival circuit so there will be a DCP in my near future - a dance I've not done but have had others describe the process, and I've seen some of the guides online. Looks doable.
Specific question - my instinct is to set up a log timeline to preserve as much as possible, and then eventually output all the deliverables from there - DCP-P3, vimeo/youtube - sRGB, broadcast prores - rec709, etc. I suppose there may even be an HDR output at some point down the line although it's a romcom, so nothing really would take advantage of that space (what is it, rec2020?). But I'd hate to clip highlights just in case they want to go out to that down the line. Eh, why not...
Anyway, does a log timeline make the most sense for a film shot RAW, giving me the most grading latitude and flexibility for all the various exports later? Or am I overthinking it? Nothing about the film really screams log, it's just the idea of doing it right/properly.
Question - do the controls still work mostly the same in log space as rec709, or do they work in native log and behave differently? Can I still monitor a log timeline rec709
If I work in BMDFilm log, are there reliable luts that can convert to P3, etc from there? I feel like Arri's log-c can be lutted across to about anything reliably and accurately with the lut generator on their site, but not sure if BMDFilm would have the same reliability and LUT availability. I would love to hear someone's delivery process and if those luts exist somewhere.
Sorry, big questions, I know - I guess in a nutshell, what's your preferred RAW grading workflow for film fest/DCP export? Do all of you indie graders swear by Log, P3, or stick with tried and true rec709 for simplicity?