Editorial & Dailies Workflow

Essential knowledge

At the end of each shooting day in most cases the data needs to be transferred to post production to start the transcoding process. Of course, exceptions are always possible: e.g. editorial happens on-site or after principal photography when shooting in a remote location.
Post houses offering a HD or UHD editing pipeline should not have issues handling the original camera negative (OCN) that was recorded on Codex Drives, SxS cards or CFast cards. OCN, which was shot as QuickTime/ProRes can be edited natively in most editing tools and does not need further transcoding. For editing with high resolution OCN we suggest latest high-level hardware to get the best experience.
OCN, which was shot in ARRIRAW first needs to be transcoded into a different codec and container e.g. DNxHD or QuickTime/ProRes for editing.

For a smooth editing workflow, we suggest transcoding all OCN data into lower resolution proxy files e.g. HD or UHD. There are various codecs for different editing tools, which are supposed to be used for editing e.g. DNxHD, DNxHR (for UHD & HDR content and QuickTime/ProRes.

There is metadata within the proxy files, which has to match the highres OCN files after your transcoding:

  • Source Timecode
  • Clip Name or Reel Name

For relinking (conforming) back to the highres files in the later stage of post production it is indispensable that Source Timecode and Clip Name or Reel Name of each clip matches to the highres OCN files.

Material that was shot in Log C needs to be converted to Rec 709 color space to display correctly on a Rec 709 display. Viewed on a regular video monitor, LogC images look flat with desaturated colors. In order to get a grayscale characteristic and color reproduction that is more pleasing to the eye, the images have to be tone-mapped and transformed into the target color space. This image conversion can be applied by using a three dimensional look up table (3D-LUT) on the LogC material.

It’s up to you what software you prefer for your dailies rendering. A lot of applications will render out the camera material with applied 3D-LUT conversions to your target color space, mostly Rec 709. If your OCN was shot in Log C, it’s always possible to do a color space conversion to Rec 2020 or P3 color space. Your viewing display should of course match to these target color space.
Each clip captured by ALEXA SXT, ALEXA Mini, AMIRA, ALEXA LF and ALEXA 65 is recorded with an ARRI Look File 2 (Look Library or Custom Look). Each Look File is stored and embedded as metadata in each file header. Some tools natively are supporting our ARRI Look File 2, so that you can easily apply the look on the shot how it was intended on set.

As most of the tools use their own notation for look up tables, ARRI offers the conversion LUTs through the online ARRI LUT Generator, which can create over a dozen different LUT formats for different applications.