How to transcode F3 S-Log to ProRes HQ?

I had the same question not so long ago, going from DNxHD to ProRes everyone suggested I needed to use FCP, in my case I played the DNxHD timeline out of Avid MC 5 sdi out of my Mojo DX into my Ki Pro Mini. I looked for software on the net that would trans code to ProRes but Apple seems to have locked their codec to FCP only, then again maybe I didn't look hard enough so I could be wrong on this one.
 
You can get the Apple's current codec updater, use Pacifist to install and transcode with MPEG Streamclip at no cost …
 
>You can get the Apple's current codec updater, use Pacifist to install and transcode with MPEG Streamclip at no cost …

Any links. I have MPEG Streamclip (on Mac). What is Pacifist?

I installed the package:

http://support.apple.com/kb/DL1396

Still cannot import DPX files
 
Last edited:
Pacifist allows you to extract individual files out of installers, disk images, etc.
I am confused about your workflow, however. If you have a KiPro Mini, why in the world aren't you just capturing ProRes HQ straight from the camera?
 
> If you have a KiPro Mini, why in the world aren't you just capturing ProRes HQ straight from the camera?

I have S-Log clips (not the camera) from the F3.
 
ustein said:
> If you have a KiPro Mini, why in the world aren't you just capturing ProRes HQ straight from the camera?

I have S-Log clips (not the camera) from the F3.
Click to expand...

Technically, S-Log is a gamma curve, not a particular codec. To wit, the S-Log curve can be recorded any codec - but only is of practical use with at least 10 bit codec like Pro Res422HQ or Avid DnxHD.

It would appear the question you're actually trying to ask is "How do I re-encode .DPX files to ProRes?"
 
Yeah but what did they record to? Same question as the earlier post - how did they not record this to Pro Res in the first place?
 
Ustein - The "S-Log Option" enables output of SLog and RGB 444 over dual link or 3G SDI. The camera has no internal capabilty to record in any other format than XDCAM-EX (or HDV compatible stream). So, stating that a production used the "S-Log Option" really only applies to the gamma curve, and doesn't specify why they may have chosen any specific compression.

That said - uncompressed DPX would certainly offer higher quality recording than ProRes, so there would be advantages potentially.

I would guess they perhaps recorded to a Cinedeck?
 
>The "S-Log Option" enables output of SLog and RGB 444 over dual link or 3G SDI.

But you have to pay quite a bit extra? For what actually?

>I would guess they perhaps recorded to a Cinedeck?

Don't know. My question is just about dealing with DPX in a FCPX workflow.
 
ustein said:
>The "S-Log Option" enables output of SLog and RGB 444 over dual link or 3G SDI.

But you have to pay quite a bit extra? For what actually?
Click to expand...

What you're paying for is a gamma curve that let's you punch as much as 13.5 stops into a video signal (perhaps as much as 14.5 when the new firmware gets released). For low end quick turn around work, this generally isn't desirable, but for high end work that is intended for moderate to heavy color correction, it's a godsend. Some users are refering to it as "infinite DR" - the point being it allows you to recover highlights that are otherwise lost, and gives much greater latitude on controlling where your blacks get crushed.

The gamma curve is output over the SDI video signal, and can be recorded by any attached device, whether it be an HDCAM-SR deck, Cinedeck, BM Hyperdeck Shuttle, CD Gemini (DPX, uncompressed), or any flavor of 422 ProRes or DNxHD recorder (Ninja, Samurai, Pix240, Ki Pro, Ki Pro Mini).

Using DPX for recording is a highend choice, and it's not a workflow that the $300 Apple FCPX was designed to handle. It really isn't.

Are you going to use the Pro Res files for an offline edit and then send the DPX files and EDL to an online edit suite?
 
You must log in or register to reply here.
Back
Top