![]() ![]() ![]() ![]() Log, in its many flavors, is a smart, flexible, and powerful way of storing high dynamic range digital cinema imagery. And, rather than wasting time extolling the benefits of shooting Log, I'll simply suggest you go read Stu's excellent post over at Prolost full of pragmatic wisdom like: QuickTime support is more-or-less ubiquitous these days and, while LogC support is somewhat hit-or-miss (more on that later), it's possible to take QuickTime Alexa footage through a post pipeline without ever applying a LUT. At a data rate of 1591 Mb/s, we'll suck up ~716Gb for every hour of footage we shoot. When I have a choice, my preferred camera is the Alexa Mini, shooting UHD (3840x2160) ProRes 4444XQ LogC. The beginning of the post-production pipeline is the camera and format selected for the project. Apple Compressor v3.5.3 – Final Encodes.Soundtrack Pro v3.0.1 – Audio Editing and Mixing.Nuke Studio 10.0v3 or After Effects CC 2015 – Motion Graphics.DaVinci Resolve v12.5 – Color Correction.Nuke Studio / NukeX 10.0v3 – Picture Conform, Online, VFX.The PlayersĬurrently, the high-level flow of applications I use in post-production looks like this: My intention here is to illustrate the absurdly complex method by which I turn ideas into videos, while also holding on to the faint hope that publicly highlighting these pain-points may lead to potential solutions. Still, it's the best frustrating workflow I've put together so far.īefore we get started, I'd like to make it clear that this post is in no way meant to be a "how-to" guide for others to follow. Each step has technical and creative frustrations that keep me from being satisfied. And, while I've been able to settle on a consistent workflow over the past year or so, I would never describe it as smooth or flexible. Over the past three-ish years of working for myself, I've experimented with a number of permutations of my post-production workflow in an attempt to find the smoothest, most flexible path from dailies to delivery. ![]()
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