Yes, it appears the DP didn’t do anything special. That look is very close to what you get from using a LogC to 709 LUT from the traditional online LUT generator. (The built-in ARRI 709 LUT in the AMIRA, MINI and SXT has a correction for supersaturated reds, e.g. a Sun-Maid Raisins box under a red light…we don’t go off the deep end in that corner case now. If the DP wanted that behavior, s/he could have selected “ALEXA Classic 709” to make that red-lit Sun-Maid Raisins box an unholy red, as it used to be.
I was going to enclose a screen shot of the menu item on the AMIRA simulator (see http://www.arri.com/camera/amira/tools/amira_simulator/) to show you “ARRI 709” and “ALEXA Classic 709” as adjacent menu selections, but realized I never see anyone embed images in Nuke-users posts. Is that considered a no-no? On Oct 28, 2016, at 12:44 PM, Gary Jaeger <g...@corestudio.com<mailto:g...@corestudio.com>> wrote: OK, so further looking at the clips in the Color Tool, I see: Look Name = ARRI 709.aml Look Burned In = no Target Color Space = Rec 709 So I'm guessing the DP didn't do anything special. On Fri, Oct 28, 2016 at 12:37 PM, Gary Jaeger <g...@corestudio.com<mailto:g...@corestudio.com>> wrote: Great, thanks Joseph. Btw, Arri Meta Extract seems to generate the .aml files, right? Or is the command line tool doing something different? On Fri, Oct 28, 2016 at 12:34 PM, Joseph Goldstone <jgoldst...@arri.com<mailto:jgoldst...@arri.com>> wrote: On Oct 28, 2016, at 12:14 PM, Gary Jaeger <g...@corestudio.com<mailto:g...@corestudio.com>> wrote: That’s great info, thanks Joseph. I’ll ask the DP if any in camera grading was done. And just so I’m clear, if they *were* done we could extract, convert and use in nuke, correct? You could, though at the present time, though the extraction can be done with a command-line tool, the conversion from ARRI 3D LUT format to a Nuke-ready format requires use of a GUI tool. Not so great if your DP used a different in-camera grade on 2,500 effects shots. But mostly we find that people develop a handful of looks in pre-production (“daylight exterior”, “daylight interior”, “evening exterior”, “evening interior”, “flashback”) and then select one of that menu of a handful for all the shots in a sequence. Or just use one for the entire production. And is that where we’d load the 3D LUT into an ocio file transform downstream of the read but ahead of any FX work? I wouldn’t think that you would be using the LUT until after you’d added the VFX: 1. File comes in LogC. 2. You extract the .aml with the command-line tool and use the GUI tool to convert it to, say, IRIDAS .cube. 3. Read the LogC file in and linearize to your working space (e.g. if you are using ACES, linearize the LogC to ACEScg using the LogC IDT) 4. bring in your dinosaur from your dinosaur’s encoding space to the working space, and comp in working space 5. transform the comp from working space to LogC (inverse of (3) above). 6. apply .cube file from (2) via OCIO FileTransform to get displayable values. I don’t want to give you specific parameter settings since I’m using a prototype ACES 1.0.3 OCIO config and am using Nuke 10.0v4. I think the earliest Nuke 10.0 + ACES OCIO config support may have had some issues (though HPD is the authority on this) and anyway, researchers shouldn’t tell production people what to do. (And indeed you may not be working in ACES at all, and I’ve totally forgotten what Nuke is like pre-ACES, which is why 1-6 above are a bit vague.) Best— —joseph Gary Jaeger / 650.728.7957<tel:650.728.7957> direct / 415.518.1419<tel:415.518.1419> mobile http://corestudio.com<http://corestudio.com> On Oct 28, 2016, at 11:58 AM, Joseph Goldstone <jgoldst...@arri.com<mailto:jgoldst...@arri.com>> wrote: The LogC is the same, and you can use a “standard LogC to Rec709 LUT” from the ARRI website to match the traditional ALEXA look. Perhaps that’s enough of an answer for you right now. But for those of you that are interested in the general question of LogC from the AMIRA… …there is a much more flexible color processing architecture built into the AMIRA, the ALEXA MINI and the ALEXA SXT. In the AMIRA, the user has the option of either extensively tweaking the standard processing, or loading in a 3D LUT generated in another package (say, Resolve of Baselight) and this 3D LUT will be carried in the .mov file as metadata. ASC CDL is also applied differently to LogC data for those more recent cameras — bowing to Hollywood tradition, on the AMIRA, MINI and SXT it’s the LogC data that gets modified by the ASC CDL values, not the display-ready video values (as is the case with older ALEXA models). There is not currently a command-line tool to extract these 3D LUTs directly in a form that Nuke understands. There is a command to extract the 3D LUT as a .aml file, and there is a GUI tool (the ARRI Color Tool) that can be used to convert the .aml file into a variety of 3D LUT formats that Nuke understands, but it’s not scriptable. To download the ARRI Color Tool, or to read more about it, you can look here: http://www.arri.com/camera/alexa/tools/arri_color_tool/<http://www.arri.com/camera/alexa/tools/arri_color_tool/> To learn more about metadata extraction (including pulling out the look file) you can look here: http://www.arri.com/camera/alexa/tools/arri_meta_extract/<http://www.arri.com/camera/alexa/tools/arri_meta_extract/> I haven’t seen many features use this flexibility to date; many of them are grading downstream and as Michael points out, LogC is LogC wherever. But as you are on an AMIRA show, you should probably check to see if any in-camera grading was done or any custom looks were loaded. Best— —joseph On Oct 28, 2016, at 10:46 AM, Michael Garrett <michaeld...@gmail.com<mailto:michaeld...@gmail.com>> wrote: Hey Gary, Amira LogC is the same isn't it? It's possible Premiere is applying a LogC to Rec709 LUT to roll the highlights off and get it looking presentable. I would imagine from what you're saying that the footage looks blown out in Nuke because it's not doing the additional s-curve in the above LUT to get a reasonable image. Check out the Arri web site to download a LogC to Rec709 LUT. Cheers, Michael On 28 October 2016 at 13:02, Gary Jaeger <g...@corestudio.com<mailto:g...@corestudio.com>> wrote: I have a question about LogC as well. Do we need a different LUT to work with Amira LogC footage? I’m pretty sure the camera tags the clips, and for instance Premiere reads that and displays the footage with that lut so the editor (and client) see something reasonable i.e. not flat LogC like it is looking at the raw clips. But Nuke displays the footage quite blown out. I know the data is there, but is the AlexaV3LogC not the right transform? Gary Jaeger / 650.728.7957<tel:650.728.7957> direct / 415.518.1419<tel:415.518.1419> mobile http://corestudio.com<http://corestudio.com/> On Oct 26, 2016, at 7:07 AM, Stepan Z <motionarti...@gmail.com<mailto:motionarti...@gmail.com>> wrote: Hello i didn't think about the bitrate! Thank you Andrew! I'll read about the compare node! All the best Stepan On 25 Oct 2016, at 22:19, Andrew Mumford <a_mumf...@mac.com<mailto:a_mumf...@mac.com>> wrote: Are your dpx's 10 bit ? - That would make it different for sure ! There's also a "hidden" but wonderful node called"Compare" that is great for checking these things - gives you a visual and error based output. --- Andrew Mumford On Oct 25, 2016, at 09:56 AM, Stepan Z <motionarti...@gmail.com<mailto:motionarti...@gmail.com>> wrote: Hello I'm using nuke studio to conform a few short edits, publish a source dpx sequence and a nuke script. So i'm bringing in original alexa logc encoded prores files, and publishing dpx sequence with logC set as the colorspace in the export dialog. When i then bring over that dpx sequence back into NS and drop it on top of the prores and disable all colour transforms (viewer to none instead of sRGB and the per file transform to linear) perceptually the files look identical. But when you sample a pixel or an area with the viewer the rgb values after two decimal places seem to change when your flicking between dpx and prores. 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