4.0 Post Production
Post Production Workflow
Vison3 500T Film
Footage from the Arriflex 35 BL-III will immediately be sent to Cinelab, a motion picture laboratory, to be processed.
Film transfer will be done using a 4K scan by Kyle Alvut, a former Kodak employee. The files will be calibrated to printing density colorspace.
Arri D-21
The ARRI D-21 data, files will be kept in RAW with ARRI’s proprietary codec ARRIRAW.
The media will be stored on the raid in the MPS post-production room, because AVID Media Composer software can proxy files and return a conform file, it will be used for post-production editing.
The conform AAF will be returned into Blackmagic’s Davinci Resolve for final color grading from the original source content.
For color correction, the files will be converted to the Academy Color Encoding System (ACES) color space to simulate the typical workflow for a modern feature film.
In ACES, a larger color gamut is utilized and one can manipulate an image without losing information.
It also provides color management and attempts to account for human visual system factors when rendering the color to a display.
The display in the MPS lab was recently calibrated through a class lab assignment right before the shootout took place.
An input device transform is used to convert the raw camera data into the ACES color space.
The information is then processed through the Reference Rendering Transform (RRT) and the Output Device Transform (ODT) to create color information that is renderable to the display.
The ACES conversion will be output to openEXR files for the final pass of VFX and color grading.
After grading is complete an export will be made in H.264 Rec. 709 for playback at screenings.
