Hi Andrew, great start to the Epic / BMCC comparisons. I had one to play with over the weekend and shot about 1TB worth of footage. Its scary how quick that happens. I work in VFX so a lot of the plates were to work on later in resolve and Nuke, such as some green screen tests, low light and plates for some matte painting work. Everything you found I agree with, I hope once the MFT arrives I'll be able to dial in perfect exposure more easily but we'll see.
As for file work flows Ive been bringing them into nuke ass raw DNG then exporting to a 12bit DPX file with either the Alexa LogC colorspace or Cineon. This maintains the data for me without having to have nuke decompress the raw file every frame. Also the log colorspace keeps all of the DR. This is our workflow for the Alexa so Im just mirroring that. If resolve could spit out Cineon I would first go in there but from what Ive seen its export is Rec709?
Hi Andrew, great start to the Epic / BMCC comparisons. I had one to play with over the weekend and shot about 1TB worth of footage. Its scary how quick that happens. I work in VFX so a lot of the plates were to work on later in resolve and Nuke, such as some green screen tests, low light and plates for some matte painting work. Everything you found I agree with, I hope once the MFT arrives I'll be able to dial in perfect exposure more easily but we'll see. As for file work flows Ive been bringing them into nuke ass raw DNG then exporting to a 12bit DPX file with either the Alexa LogC colorspace or Cineon. This maintains the data for me without having to have nuke decompress the raw file every frame. Also the log colorspace keeps all of the DR. This is our workflow for the Alexa so Im just mirroring that. If resolve could spit out Cineon I would first go in there but from what Ive seen its export is Rec709?