Kai Klassen

ok wow, thanks for that insight, i like that approach. sounds like another half day of work on a cc, right?

Hi, sounds interesting, may i ask what you do the two renders for and/or how you further process them? I usually use denoise in the beginning of my grade and have that node cached. I mostly work with log footage and denoise in log as well. If its heavy noise i also use neat video.

oh my, what a beauty and a great working horse! Loved to work with it, back in the days! I hope you find someone that takes good care of it!

Hi, for Arri cameras there are official tools you can use to create the aml or xml for in-camera use. For the ‚newer‘ cameras: https://www.arri.com/en/learn-help/learn-help-camera-system/tools/arri-color-tool For the ‚older‘ cameras: https://www.arri.com/en/learn-help/learn-help-camera-system/tools/arri-look-creator The ‚Arri color tool‘ is also handy in a different way. Not only you can use it to transform the cube to aml, you also can import luts and convert them to any other lut format (e.g. Nucoda). No batch convert though, as it is not especially meant for this purpose. But its for free and if you have a lut that you actually need in another format it works. Cheers

Hehe, by looking at it again...the links actually come out of the node 2 ouput for both nodes... its just perfectly allingned so that it looks like its the input/input connection... To my defense, i have the feeling the picture may be a tiny bit out of focus

wow. looks insanely huge...guess that's hollywood But yes in my experience it is good to have a fixed node structure as it is more or less the only way to make 'ripple grading' possible. For that having some extra nodes left (that you'll possibly never use) is good, as i find it difficult to insert a new node in the middle of a node tree, if you have to do that on several shots... But how is it possible to connect node 3 and node 9 with the green/image line? as this is a input/input link...in a parallel environment?

check the raw tab on the color page. It may say 'decode using: camera metadata' so its applied to your footage But if the raw tab says 'decode using: project' it applies the settings that are dialed in in your project settings in the RAW section. Those settings are not directly visible in the color page, so you easily could start to work with unwanted presets, by accident. Still you could change the raw settings for each clip to get them as log footage, but it is a good idea to set the project-raw-settings as you want them to have, at the first place Sounds like you are used to debayer to a log format but now its set to 'Rec 709' in one of those raw sections.