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Exporting RAW ProRes for colour grading

New Here ,
Sep 11, 2020

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Hi All,

 

I'm trying to export a single file for colour grading - uncompressed with a full original wide colour gamut - as requested by the colourist. 

I've tried 422, 422 HQ and 444 and it seems to automatically export in a 709 colourspace.

 

Any advice on how to achive this or get an uncompressed single file to my colourist? We are having to do this remotely, which is why we need the single file. 

 

Thanks in advance...

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Exporting RAW ProRes for colour grading

New Here ,
Sep 11, 2020

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Hi All,

 

I'm trying to export a single file for colour grading - uncompressed with a full original wide colour gamut - as requested by the colourist. 

I've tried 422, 422 HQ and 444 and it seems to automatically export in a 709 colourspace.

 

Any advice on how to achive this or get an uncompressed single file to my colourist? We are having to do this remotely, which is why we need the single file. 

 

Thanks in advance...

Topics

Editing, Export

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New Here ,
Sep 11, 2020

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Essentially, I am trying to export a ProRes 444 file in a V-Gamut Colourspace, as opposed to in the 709 colourspace. Is this possible?

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Adobe Community Professional ,
Sep 11, 2020

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I have no idea, but that's never stopped me before...  What about with the animation codec?  Or as an image sequence?  When I was supervising the restoration of a film from the 70's a few years ago, the post facility did the scan of the a and b rolls to 2K as an image sequence which I then conformed within resolve and sent them the resolve project...  I can try and dig up the exact format of the image sequences if you like.  

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New Here ,
Sep 12, 2020

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Thanks! Yes I may have to try an image sequence but I'm still worried about losing the original colourspace.

Will look into this if I can't manage to get the correct ProRes sequence, as requested by the colourist. 

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Adobe Community Professional ,
Sep 11, 2020

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To do that, you'd need to try using the public beta build, which has both timeline and clip color space options that would probably work. It's pretty stable, I'm working in it. Check the options for the Sequence color space near the top of the Sequence settings.

 

Public beta avaialable from the Beta tab in the CC Desktop app ... and you can have both the public beta and the shipping of 14.x installed. You can work a shipping 14.x project in the beta for say this step, then continue back in the shipping version if you desire.

 

Neil

 

 

Beta apps in CC Desktop.PNG

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New Here ,
Sep 12, 2020

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Thanks so much for this Neil, I've given that a go but am still unable to view or export clips in their original colourspace.

The sequence settings only gives me 709 and 2100 options and the Source Settings menu just will not open or display anything on either version. The source settings thing is very strange cos I literally can't access the menu - I click on the option and nothing happens.

 

Is it just impossible to create an export with clips retaining their original colourspace - in this case, the majority of footage is V-Log? It clearly says the footage is V-Log in the metadata but it seems to be impossible to view or export without a conversion to a 709 colourspace. 

 

I've not had this issue before with other Log footage. The only thing I can think of is that this is 10 Bit 4.2.2 4K and perhaps the system isn't handling it?

 

Thanks again. Any thoughts most welcome, as this has really stumped me.

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Adobe Community Professional ,
Sep 12, 2020

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what about exporting an xml from premiere and import into resolve and then do your export from resolve?  It can be a little tricky and you might need to do some tweaking here and there and would not include any effects you've added...  

 

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Adobe Community Professional ,
Sep 12, 2020

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I do find the request for the 'cut' file as the incoming media for the colorist interesting. I'm more used to colorists requesting the original media if possible. But at times, I know an export of the cut timeline is used. Especially if there's a lot of time ramping/changing and or Warp stabilization.

 

Neil

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