If you are working on commercials you probably know this situation.
There is a mainfilm and some versions. Mostly the same shots and additional some alternatives.
And then there are revisions in the following days or even weeks.
The edit has changed and in most cases it is just a few shots to change.
So far so good.
So the inhouse producers thinks: Hey, it is just a shot. Probably copy&paste. The assistant can do it.
That’s sometimes right, sometimes very wrong. I will explain you why.
Imagine you watch a yellow color for only 1 second and then a blue picture.
Relax your eyes. Then watch the yellow color for 4 seconds and then again the same blue picture. The impression has totally changed.
Maybe in the new offline edit the order of the shots has changed or the length.
This is the point when copy and paste doesn’t work any more (in the worst case).
Grading is like a composition. You can’t just take the endpart from the song and put it in the middle.
Then you also have to change the surrounding areas.
Kepp this in mind.
I you change the edit (order of shots, speed, new shots)you should check the grading again.
Even if the shots are the same.
ALEXA Support for ProRes 4444 XQ – Frequently Asked Questions
first posted by Alaca Melih: https://www.facebook.com/melih.alaca.9/posts/10152580524953478
Q: What is the advantage of ProRes 4444 XQ?
A: ProRes 4444 XQ has a lower compression ratio (about 1:4.5) than ProRes 4444 (about 1:6.8). This means a higher data rate, which is great for doing extreme color grading in post. The fact that it is a 12 bit RGB codec (like ProRes 4444) also helps in preserving the superior tonal range of ALEXA’s Log C signal.
Q: Who will use ProRes 4444 XQ?
A: ProRes 4444 XQ is one more choice available, in addition to the other ProRes codecs, ARRIRAW and DNxHD. Customers can choose the recording format that best matches their post workflow, distribution format and budget. This flexibility has always been one of the great advantages of ALEXA cameras. While we expect ProRes 4444 to continue to be the most popular recording format for ALEXA shows, we think that a number of commercials and high end TV shows will want to use ProRes 4444 XQ.
Q: How does ProRes 4444 XQ compare to ARRIRAW?
While ProRes 4444 XQ delivers additional benefits over the current ProRes 4444 codec in terms of higher data rate and hence better image performance, we expect the current trend to more ARRIRAW usage to continue. ARRIRAW remains the only uncompressed, unencrypted format and will remain the recording format of choice for feature films, high end commercials and any VFX heavy projects where maximum flexibility in post and the best archival options are important. And with the ARRIRAW Open Gate format (3.4K) we have recently added a new and exciting option for those who need more surround area in post for reframing, re-sizing, stabilizing or for an easy up-sample to a 4K DCP.
Q: When will ProRes 4444 XQ be available for ALEXA?
A: ProRes 4444 XQ is a feature of the free-of-charge Software Update Packet SUP 10.0, which is scheduled for an open beta in July and a final release in August. We are currently deep in the testing phase of SUP 10, and depending on how testing goes the releases will be earlier or later in those months.
Q: Which ALEXA models will support ProRes 4444 XQ ?
A: ProRes 4444 XQ will work on all ALEXA XT cameras and all ALEXA Classic cameras with the XR Module upgrade. The reason is that the XR/XT cameras have a much more powerful compression board than the ALEXA Classic cameras. The compression board of ALEXA Classic cameras cannot handle the higher data rate of ProRes 4444 XQ.
Q: Will ProRes 4444 XQ work with ProRes HD, 2K, 16:9 and 4:3?
A: Yes, all currently supported ProRes resolutions (ProRes HD and ProRes 2K) and all supported aspect ratios (ProRes HD 16:9, ProRes 2K 16:9 and ProRes 2K 4:3) can take advantage of ProRes 4444 XQ.
Q: What recording medium can I use to record ProRes 4444 XQ with?
A: You can use SxS PRO cards, CFast 2.0 cards and XR Capture Drives.
Q: What is the maximum frame rate for ProRes 4444 XQ?
A: We are still in the fine tuning phase, but here are our preliminary findings: When recording ProRes 4444 XQ in HD/16:9 resolution onto an XR Capture Drive, you get a maximum of 75 fps. In ProRes 2K/16:9 resolution that will be 60 fps. The maximum frame rates for CFast 2.0 and SxS PRO cards will be lower. We are working on an overview table that shows all recording formats/recording media combinations with the resulting maximum fps.
Q: What does XQ stand for?
A: Apple has not said, but we love the fact that it goes so well with our XT and XR names. Thus it could stand for ‚Xtended Quality‘, just as XT stands for ‚Xtended Technology‘ and XR stands for ‚Xtended Recording‘.
Q: Which post software supports ProRes 4444 XQ?
A: Apple’s Final Cut Pro X 10.1.2 supports ProRes 4444 XQ for editing, compositing, rendering, and exporting. FCPX 10.1.2 is available now. We are sure, however, that others will follow soon and we will list all compatible tools on the ‚Working with ProRes‘ web pages in the Workflow area of the ALEXA web pages.
Q: What is the data rate for ProRes 4444 XQ?
A: See table below. For comparison: ProRes 4444 HD/16:9 at 29.97 fps is about 330 Mbit/s, while ProRes 4444 XQ HD/16:9 at 29.97 fps is 495 Mbit/s. Thus the ProRes 4444 XQ data rate is 1.5x higher than the data rate of ProRes 4444.
Q: Does this mean that I need more storage capacity when I shoot ProRes 4444 XQ?
A: Yes. Since ProRes 4444 XQ has about 1.5x the data rate of ProRes 4444, you will need about 1.5x the storage capacity. In exchange you get a higher quality image.
Q: Will AMIRA also support ProRes 4444 XQ?
A: That’s possible in the future but at this stage ProRes 4444 XQ will only be available for ALEXA XT/XR cameras.
who ever is interested in getting an overview over all existing grading-systems and/or the new SCRATCH v8, might take a look here (both german versions):
Download: Article SCRATCH v8
Download: Article Grading-Systems
Recently a colorist contacted me. I knew his name, but we never met before.
His company didn’t pay his last salaries and he was really worried about the situation.
Of course we met and I spoke about my experiences with these kind of problems and gave him some advises.
As western europeans we are used to clear and direct words. In some other countries you don’t say things directly.
It needs some time to understand the system and also may drive you crazy.
In this case he simply didn’t have enough customers and became to expensive for the company.
Anyway, I contacted some other friends and we introduced him to some companies as a freelancer.
He has a wife and a son, so we felt it was our duty to help another colorist.
Yes, we are competitors but in the end there are not so many highend-colorists out there.
Yes, many guys who call themselves colorist, after they gradet two student films. But real colorists or artists should support each other.
So finally another colorist managed a longterm job in Egypt for this unlucky guy.
Actually my friend even gave him a baselight training before as he was not familiar with this system.
Again: we didn’t knwo him well and just met a couple of times, but we felt that we had to help this guy.
He took the job….and never came back to us to say simply THANK YOU!
We contacted him about his new work, but didn’t really get a feedback.
„Yes, everything ok. Lots of work here“ Is all we got.
Is it really that hard? Maybe he took it for granted that other people have to help him.
I can tell you, that it is really dissapointing.
I lived this experience a couple of times in some variations and I will never understand it.
It reminds me, that I even have to take more care about saying thank you to people who help and support me.
So here I especially want to thank three people, who gave me chances when I was young and stupid 🙂
Micahel Cioni from Light Iron has some really interesting facts about 4K and the related workflows.
One of the few guys who explains technical matters in a simple and understandable way.
Most impressive is the trick to gather RAW 4K quality, but work in ProRes 4444 ( starting from minute 17:00).