Latest post Fri, Apr 5 2019 8:08 AM by Pat Horridge. 3 replies.
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  • Wed, Apr 3 2019 4:36 PM

    • ummagumma
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    Importing/transcoding media related to color space


    I've got some technical questions related to avid and it's (or general) color managment.


    1. If I import/transcode file that was recoderd in log, does the transcoding process remove any information related to its colour space so I wouldn't be able to set my Baselight input colour space properly? Assuming that my colour space in Avid is REC.709 and that is my desired colour space to deliver. Simply speaking what I want to know is if the LOG files after transcoding will still be LOG (but now DNxDH or Proress)?


    2. If I need to work on project with several different cameras (with several different colour spaces), once again, does transcoding the media allow the Baselight to see properly what was the colour space originaly and set the whole working space correctly, assuming that I work in TrueCam and I need that metadata. The easiest way to do would be to link the media in the first place, but Avid (up to date) doesn't recognize Alexa or RED files. 




  • Thu, Apr 4 2019 7:57 AM In reply to

    • MikeyB
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    Re: Importing/transcoding media related to color space

    When you have linked media into a Bin, you have the choice in the clip's Source Settings whether or not to apply a Colour Adapter - essentially a viewing LUT - to the clip.  On the Transcode dialogue you then get the choice whether or not to 'apply' (ie bake-in) the Colour Adapter into the transcoded media. If you leave the box un-checked, you retain the log characteristics of the media, but it continues to be Colour-Adapted for viewing. 

    Before export to Baselight, you can remove the colour adapters from the sequence by right-clicking it in it's bin and choosing Refresh Sequence/remove colour adapters. You would then be able to export log media to Baselight.

    Source metadata is preserved, afaik.

    NB, Avid does work natively with Red, and will see and apply data from RMD files if present. Alexa media still has to be wrangled externally at the moment.

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  • Thu, Apr 4 2019 9:41 AM In reply to

    • ummagumma
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    Re: Importing/transcoding media related to color space

    Thank you, I found the options you were talking about. But to be clear what would actually ticking the colour adapter box do to the imported video files?

    edit: actually what I see in the transcode options is the Apply source transformation color encoding “tick”. And now I’m confused if it is preserving the original files data or changing it for the purpose of sequence?

  • Fri, Apr 5 2019 8:08 AM In reply to

    Re: Importing/transcoding media related to color space

    OK just to be clear Importing media into Avid isn't the same as importing in Premiere.

    In Premiere Import means link. Premiere import doesn't make media it just accesses the original source where it is (you need to tick the ingest option to trigger a transcode to make new media)

    In Avid we can import and that process makes new Avid media the clip in the bin is now accessing that newly imported media and you can then apply color adapters as needed.

    With AMA Link (just called Link) we just access the original source file via the clip in the bin. And again you can add colour adpaters.

    Colour adapters added for AMA linked clips are realtime conversions happening whenever you access the clip.

    So if you link an S-log source file and it has metadata to indicate the LUT was used Avid will automatically add the S-log LUT in the source settings color adapter. When you play the clip it will look like "normal" video.

    If you transcode and don't tick the apply source color encoding you get a new clip with AVid created media that has the same color characteristics as the source (ie S-log) and the LUT will be retained as a realtime adapter. You can however (probably in the grade) chose to remove that LUT.

    If you tick the box to apply source color encoding the new media created wil have the S-log corrected and that will be embedded, you can't remove it later. This is useful for supplying media to an offline editor who does't want the agro of the LUT or want the perforance penalty of an additional realtime color adpater playing with every clip.


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