Finnegan
Well-known member
My company recently got a C300 and so far we've had a blast shooting with it. It's a great camera, but we're still working out some of the kinks in our workflow and establishing best practices. We're on an Avid workflow, and it seems that there are some issues popping up that I haven't had to deal with before since I've mostly edited on Final Cut Pro and Premiere Pro in my career.
When ingesting the footage, our post production team is unsure of whether to import the footage as RGB or Rec709. As far as I know the C300 records in Rec709, but this is based on the observation that when using the Log and Transfer function in FCP the footage from the C300 is natively identified as Rec709. Googling hasn't revealed much for me. I just want to make sure that the footage is getting into our NLE right because I've had issues in the past (with DSLR footage, not yet the C300) where bringing it in at Rec709 washes out the blacks and makes highlights weird, no doubt because it's setting blacks at a value of 16 as opposed to zero, and whites at 235 instead of 250. Is this something I should worry about when ingesting C300 footage to Avid if we bring footage in at Rec709?
When ingesting the footage, our post production team is unsure of whether to import the footage as RGB or Rec709. As far as I know the C300 records in Rec709, but this is based on the observation that when using the Log and Transfer function in FCP the footage from the C300 is natively identified as Rec709. Googling hasn't revealed much for me. I just want to make sure that the footage is getting into our NLE right because I've had issues in the past (with DSLR footage, not yet the C300) where bringing it in at Rec709 washes out the blacks and makes highlights weird, no doubt because it's setting blacks at a value of 16 as opposed to zero, and whites at 235 instead of 250. Is this something I should worry about when ingesting C300 footage to Avid if we bring footage in at Rec709?