Latest post Tue, Jul 24 2018 2:54 PM by Job ter Burg. 3 replies.
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  • Mon, Jul 23 2018 7:34 PM

    2 Questions: v-log and drive-archiving

    Hi,

    Two questions:

    i) i have just acquired the Panasonic GH5 and starting some test shoots.  I don't have the v-log extra package, though it has received a lot of attention.  I do not quite understand it - the mode of shooting, yes, but the application of colour correction algorithms in a NLE, no.  Can anyone please supply an abstract one-sentence as to what it is all about (for me to grasp the concept in editing), then a step-by-step approach to colour correcting v-log in MC.

    ii) I am starting a company and want to put all new transcoded footage onto a new drive.  Correct me if I am wrong, but within the Avid MediaFiles in the root directory of each drive and the MXF folder, Avid starts the sub-folder with the name no.101.  Can I take each new project's footage and simply transfer these to a new folder named, say, 102, ad infintum?  What is the number scheme from then onwards - eg., 102, 103... 115... 126 ?

    Thank you,

    DC

    Asus N55SF Notebook running Windows 10 Home Processor: Intel(R) Core (TM) i7-2670QM CPU @ 2.20GHz 2.20GHz Installed memory (RAM): 8.00 GB System type... [view my complete system specs]
  • Tue, Jul 24 2018 7:25 AM In reply to

    Re: 2 Questions: v-log and drive-archiving

    KRe ii)

    Avid starts numbering at /1 ( if you are on shared storage /CLIENTNAME.1). Once the file count inside that folder hits 2500, MC will create a folder /2 (or /CLIENTNAME.2).

    On local storage, these numbers can be anything, and do not need to be sequential. For instance, I tend to separate picture and sound media per shooting day: /101 has picture for day #1, /102 has picture for day #2, etc.; /201 has sound for day #1, /202 has sound for day #2, etc. Any renders and imports will then still go into /1 until that hits 2500 files after which a /2 is created. 

    I will sometimes create folders with numbers like /20180724 for example for VFX shots coming in today. Haven’t ran into numbers that were too big.

    You can also rename te folder with alphanumerical characters, so you could rename a folder from /1 to something like /Day01. However, this means MC sees this as a read-only folder, and it can no longer rebuild the media databases (say after you add files to the folder).

    On shared storage, a similar rule applies. Any Client machine can only rebuild media databases for folders it owns, and those would be folders named after its client name /CLIENT.1 or /CLIENT.20180724 for a machine with the client name CLIENT. Say there’s another client on the system, named SUPERDAN, then that client can only rebuild media databases for folders named /SUPERDAN.1 or SUPERDAN.20180724 etc. Client machines can read each other’s folders, just not write to them or rebuild media databases for them.

     

     

    re i)

    V-log to me looks like a way to get more out of the sensor of the camera. Essentially, a wider dynamic range (highlight details, shadow details) are being preserved if you shoot that way, but it does require you to color grade for release afterwards, since V-log (or S-log or LogC) images looks extremely flat and dull and grey by themselves. Or you can probably aapply a LookUp Table (LUT) to convert from V-log to something traditional Rec709 video, but then you would essentially have the LUT undo the benefits of V-log.

    Systems like V-log make a lot of sense in some workflows.

    http://eng-ca.faq.panasonic.com/app/answers/detail/a_id/33962/~/what-is-v-log-l-function-for-the-lumix-dmc-gh4%3F-how-do-i-purchase-and-activate

    Media Composer /w Symphony option | PT-HD | Win7Pro64 HP | OSX MBP | ISIS5000 | Nitris DX | Artist Mix & Transport & Color | AJA T-Tap | Decklink... [view my complete system specs]
  • Tue, Jul 24 2018 11:22 AM In reply to

    Re: 2 Questions: v-log and drive-archiving

    Hi Job,

    Thank you for getting back to me.

    Re ii)

    I reckon just to keep things easier, keep a numerical numbering scheme and create a list of whch project's transcoding goes into which numbered folder?  Meanwhile, why specifically do you personally split vision and sound and possibly fx into separate folders?  Is there any further advantage?

     

    Re i)

    Yes, looking into v-log it looks like the original footage appears flat and murky at first, but then the cc process brings the whole thing alive.  So, do I then simply pull contrast and colours (say, curves) in MC in all the usual ways ?  I keep seeing "LUTs" mentioned everywhere - what the heck are they, and how practically does it all work once in MC for cc (from the top, as I do not have a clue) ?

    Thank you,

    DC

    Asus N55SF Notebook running Windows 10 Home Processor: Intel(R) Core (TM) i7-2670QM CPU @ 2.20GHz 2.20GHz Installed memory (RAM): 8.00 GB System type... [view my complete system specs]
  • Tue, Jul 24 2018 2:54 PM In reply to

    Re: 2 Questions: v-log and drive-archiving

    Supermandan1:
    I reckon just to keep things easier, keep a numerical numbering scheme and create a list of whch project's transcoding goes into which numbered folder?

    Depends. If you're using the folder names to keep projects apart, you might as well use the project's name in the folders. If you do need to rebuild the databases or add media, simply give them a number, let MC do its work, then rename it to reflect the project name again.

    Supermandan1:
    why specifically do you personally split vision and sound
    Because when I turn over to sound editorial, I prefer to hand them over all media and an external AAF. No need to send picture files to them.

    Supermandan1:
    I keep seeing "LUTs" mentioned everywhere
    It's basically a file that tells a computer how to remap data. In essence you use it to go from a file that was shot in a specific color space (like V-Log) into another color space (like Rec709 video).

    Supermandan1:
    how practically does it all work once in MC for cc

    One way to go about it is as you suggested. No LUT added, just create a grade until it looks great.

    Another is to use the LUT to get close to the intended look, then use Avid's CC to finesse.

    I wish I had great insight to the advantages of either method in MC, but I don't. Usually, my stuff gets conformed at a post house, then graded there on BaseLight or Resolve etc. They may add LUTs in their pipelines, I daren't say for sure.

    Media Composer /w Symphony option | PT-HD | Win7Pro64 HP | OSX MBP | ISIS5000 | Nitris DX | Artist Mix & Transport & Color | AJA T-Tap | Decklink... [view my complete system specs]
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