5 Replies Latest reply on Dec 9, 2012 7:34 PM by shooternz

    Exporting parameters when I have mixed codecs on my timeline



      I am trying to understand how to set up my export parameters when I am exporting a timeline for color correction to Resolve with a mix of footage from different cameras, all with different bit depth and color space.


      If my time line is a mix of ProRes 4444 (12 bit) from Alexa (log C), ProRes 422 (10 bit) from Sony F3 (via Samurai) (log S), Cineform Go Pro footage, and h.264 from a Canon 5d, do I set up my export settings to the match the highest bit depth and codec density of the Alexa footage? I am assuming if I set up my export for ProRes 4444 I will not gain any new information in the spare channels for the 8 bit H.264 footage, for instance, but I would like to stay with the original files as much as possible because it seems that every time you transcode, the risk of some sort of gamma shift gets introduced. Ideally, Since 90% of my footage is from the Alexa or Sony F3, I am attempting to keep as consistent a ProRes pipeline from start to finish (obviously with the small exception of some random Go Pro and 5d shots) as possible.


      My colorist for one job has recommeded I just export everything as uncompressed to him and that will allow him the greatest latitude for coloring. This is okay for small jobs but is enormous for anything of any length.


      I would appreciate any help