Feature-filmaker seeking to use ShotCut for major movie: Questions about codecs and color-grading

[octoplex]

Hello, my background is in film directing (I’m remaining anonymous); working with traditional 35mm cameras.

Our current production would like to edit a feature film entirely on Shotcut. We will be shooting the movie using Sony a9iii cameras because our tests have shown these global-shutter cameras get us closest to the Kodak Eastman look we’re going for.

I’m attempting to determine two things, with regard to Shotcut, and shooting s-log3, 10-bit 4:2:2, All-Intra 4k.

I understand that we will need to transcode this footage to DNxHD / HR, or Cineform, so that it can be edited effectively in Shotcut. Is there any existing guide or tutorial on how to ensure we retain the best quality for our pipeline? I understand that to retain the 10-bit image we should avoid using any non-GPU filters in Shotcut as that will introduce an 8-bit down- and up-conversion.

Is there anything else to be aware of in this regard?

Also: Can a colorist here offer any perspective on whether we can reasonably grade our movie within Shotcut?

We are very enthusiastic about editing and coloring entirely within open-source software. Obviously, it would be easy for us to switch to Resolve, but we want to use an entirely open-source pipeline: We want to use Shotcut on Linux.

There is some excitement on our team about being the first major motion-picture to use an entirely open-source workflow.

We do not yet have a colorist on our team. Our intention with the grade is to match the inherent-look of film stock used on the original Star Wars movie from 1977, and Back to the Future (1989). We understand these were shot on Kodak Eastman 5247 / 7247 or similar.

Naturally, lighting and set-design is a critical factor, but assuming these variables are solid, can a colorist here offer their perspective on whether the color-grading tools in Shotcut are sufficient to get our footage close to the classic Kodak Eastman look we’re after?

Previously I received some great guidance on the forum, if other feature-filmmakers are looking at Shotcut as an option, then consider reading my earlier post on the topic.

Thank you!

[DeJay]

Using the GPU option most filters cannot be used e. g. LUT (3D) and Levels, although Colour Grading, Brightness and Contrast do. Not being a colourist myself (and strictly amateur), I can make a reasonable job of colour correction using the GPU filters, but that’s all. Shotcut is improving all the time, but the 10-bit feature still needs a lot of work.

Until recently the only 10-bit open source NLE for Linux was Cinelerra-GG, which does not have the same limitations.

[octoplex]

Thank you immeasurably for your guidance, DeJay.

You have set our team here on the right path.

Another question related to our motion-picture workflow: Does anyone know of an elegant solution for capturing video in real-time from the Sony a9iii and recording it in the Cineform codec?

We are Linux-based only.

Essentially we’re looking for an Atomos-Ninja-type device, but one that will record in Cineform.

Another option is for us to roll-our-own Cineform-capture system using a desktop-computer (we will mostly shoot on sound stage, so portability is not an issue). However, I am curious about maximum cable-run lengths etc. Will we need to mount the capturing computer on the camera body for short-run cables; or can we run long cables from the Sony a9iii across the set to our desktop capture-system?

No worries if there’s no hardware-capture solution for Cineform. In that case, we will transcode the in-camera s-log3, 10-bit 4:2:2, All-Intra 4k to Cineform in post-production.

Would be neat to shoot straight to Cineform though.
We love open-source codecs!

Very curious about the options here. Thanks!