Utsi, thank you for the new Arri Alexa 35 color science details on workflow. It would be interesting to know why a color chart designed for Rec.709 color space, like the X-Rite color checker, is used to measure the latitude of a camera capable of 17 stops of dynamic range.
Thank you Utsi! Very interesting video as always. A few questions though : • What about the whole collection of LogC3 LUTs the DPs bring on set and us, DITs, to implement into Alexa35 camera? Do we need to adjust them manually and clumsy to tend toward the legacy color science look? Are you thinking of a more accurate pipeline? • At the end of the talk (51:10) , you're mentioning we will able to apply the REVEAL color science to ARRI MiniLF/LF cameras footage. I can't see why the other cameras from your park could not as they are using the same sensor and work in the same color space. • Will this feature be a camera firmware update? Or only a new debayer which will be achieved using an upcoming SDK you will provided to software developers? Cheers
Hey Brice. At the moment, yes, you will need to manually recreate custom LUTs designed for a LogC3 image in order to use them in a LogC4 workflow. If you do a straight conversion as is you'll be limiting the ALEXA 35 to the dynamic range of LogC3 and the colour space of the intersection of colours shared by AWG3 and AWG4. Or, even worse, to the dynamic range of Rec709 Video if you only have a combined 3DLUT as the new LUTs must now be "Log to Log". An automated tool designed to try and make up the difference will probably not result in the best quality output. From our experience most colourists are quite used to doing this work for DPs - indeed they were the ones who likely created the custom look in the first place. In terms of REVEAL workflows for other ARRI cameras - this will not be an in-camera process as it is likely the old cameras do not have the processing power to be able to handle REVEAL, so it will be limited to a post process available both within the ART and in our SDK for third party software. We'll certainly look into including other cameras in this workflow as we see demand for it, it is absolute technically possible but it requires more development time to support all of the other possible formats.
@@ARRIChannel , Hi Utsi, how do you manage if the post production decided to work in ACES? If i understand, we will have no solution to build a LUT for the Cam in this kind of standard workflow.
Any workflows for LOGC4 to ACEScg EXRs (for VFX) and then turning those EXR files back into LOG for grading yet? We've been struggling for the past week on this but the highlights are affected every time.
It will be beneficial to have an HDR workflow and upload a rendered file on HDR to show the potential of the sensor latitude. It’s almost pointless to show a camera sensor with 17 stops of dynamic range with a rendering demo workflow reduced to Rec.709 color space.
Hey Willian, from Utsi: Thanks for the comment Willian. I think it is beneficial to show 17 stops for SDR as well. This gives a colorist new possiblities in SDR as well, which were not possible with any other camera. But to your point of HDR content, we have HDR10 graded versions of all Encounters films which we could offer, please send an email to digitalworkflow at arri.com for more info. FYI We don't use the color checker to measure dynamic range, but it's a nice common reference to have in the image.
@@ARRIChannel Hey Utsi - Thank you very much for the kind response to my comments. I’m glad to hear the clarification regarding the X-Rite Color Checker not being used to measure camera sensor latitude. Its appearance in the video without clarification prepares for confusion. Thanks for the link to the digitalworkflow. I’m looking forward to seeing Arri’s Alexa 35 HDR footage version.
Thank you for sharing your wisdom Utsi 🙏
For those wondering, Resolve 18 is out of beta now and has a stable release. Alexa 35 should be supported 😊
Thanks so much! I got a lot of advice.
Thanks for information.
Utsi, thank you for the new Arri Alexa 35 color science details on workflow.
It would be interesting to know why a color chart designed for Rec.709 color space, like the X-Rite color checker, is used to measure the latitude of a camera capable of 17 stops of dynamic range.
Amazing 🔥❤️
Thank you Utsi! Very interesting video as always.
A few questions though :
• What about the whole collection of LogC3 LUTs the DPs bring on set and us, DITs, to implement into Alexa35 camera? Do we need to adjust them manually and clumsy to tend toward the legacy color science look? Are you thinking of a more accurate pipeline?
• At the end of the talk (51:10) , you're mentioning we will able to apply the REVEAL color science to ARRI MiniLF/LF cameras footage. I can't see why the other cameras from your park could not as they are using the same sensor and work in the same color space.
• Will this feature be a camera firmware update? Or only a new debayer which will be achieved using an upcoming SDK you will provided to software developers?
Cheers
Hey Brice. At the moment, yes, you will need to manually recreate custom LUTs designed for a LogC3 image in order to use them in a LogC4 workflow. If you do a straight conversion as is you'll be limiting the ALEXA 35 to the dynamic range of LogC3 and the colour space of the intersection of colours shared by AWG3 and AWG4. Or, even worse, to the dynamic range of Rec709 Video if you only have a combined 3DLUT as the new LUTs must now be "Log to Log". An automated tool designed to try and make up the difference will probably not result in the best quality output. From our experience most colourists are quite used to doing this work for DPs - indeed they were the ones who likely created the custom look in the first place.
In terms of REVEAL workflows for other ARRI cameras - this will not be an in-camera process as it is likely the old cameras do not have the processing power to be able to handle REVEAL, so it will be limited to a post process available both within the ART and in our SDK for third party software. We'll certainly look into including other cameras in this workflow as we see demand for it, it is absolute technically possible but it requires more development time to support all of the other possible formats.
@@ARRIChannel , Hi Utsi, how do you manage if the post production decided to work in ACES? If i understand, we will have no solution to build a LUT for the Cam in this kind of standard workflow.
Also please include time codes in the description, that would be very helpful
Will there be full ACES compatibility? And if so, when?
is great this, sorry, we can have access too this camera test?
Hello Utsi!
Any workflows for LOGC4 to ACEScg EXRs (for VFX) and then turning those EXR files back into LOG for grading yet? We've been struggling for the past week on this but the highlights are affected every time.
Hey Anthony, could you please send an email to digitalworkflow@arri.de - we'll be able to help.
I try ACES AP0 EXRs (for vfx) and use timeline color space in logc4, is that correct or not?
Would you mind sharing the ARRI wallpaper?
It will be beneficial to have an HDR workflow and upload a rendered file on HDR to show the potential of the sensor latitude.
It’s almost pointless to show a camera sensor with 17 stops of dynamic range with a rendering demo workflow reduced to Rec.709 color space.
Hey Willian, from Utsi:
Thanks for the comment Willian. I think it is beneficial to show 17 stops for SDR as well. This gives a colorist new possiblities in SDR as well, which were not possible with any other camera. But to your point of HDR content, we have HDR10 graded versions of all Encounters films which we could offer, please send an email to digitalworkflow at arri.com for more info. FYI We don't use the color checker to measure dynamic range, but it's a nice common reference to have in the image.
@@ARRIChannel Hey Utsi - Thank you very much for the kind response to my comments.
I’m glad to hear the clarification regarding the X-Rite Color Checker not being used to measure camera sensor latitude.
Its appearance in the video without clarification prepares for confusion.
Thanks for the link to the digitalworkflow.
I’m looking forward to seeing Arri’s Alexa 35 HDR footage version.
ARRI Wide Gamut 4 (AWG4) Is good such as ARRi Wide Gamute 3
For Working color space
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