Jordan asks, “How are we matching the Sony A7S III, FX6, and iPhone footage?” Alex recalls Module 7: Color Management . Alex applies a technical LUT to the Sony clips to match Rec.709, then uses a Color Match tool with a reference frame from the FX6. iPhone footage gets a slight saturation and gamma adjustment. A quick side-by-side on a vectorscope confirms alignment.
Alex nods, remembering . Instead of importing 400 GB of 4K footage directly, Alex creates proxies (ProRes LT, 1920x1080). Within 15 minutes, editing begins smoothly on a laptop. avgp-111
Power flickers (construction outside). Alex’s auto-save (set to 5-minute intervals, per Module 9: Disaster Recovery ) recovers everything. The backup drive contains the project file, proxies, and original media in a consolidated folder. Jordan asks, “How are we matching the Sony