F5: 4K Raw Workflow in Premiere Pro CS6

N

nsoltz

Veteran
Here's a quick screen capture I made showing 4K Raw workflow in CS6. I plan one for the Raw Viewer, Resolve and Avid.

My first use of Telestream ScreenFlow and I'm not thrilled with either audio or video quality, but rest assured I shoot better video than I do screen grabs.

https://vimeo.com/59126545

Ned
 
Ned,
Thank you for the revew!
I've really expected some low contrast log-like looking footage,is there some kind of LUT applied or...???
 
As I said, I'll be doing tutorials using the other apps above. I will show some grading as well. Couldn't do it in the PPro demo because with the screen recording app (Telestream ScreenFlow) and PPro + the 4K footage, MB Colorista was totally unresponsive. Without ScreenFlow running, I could work efficiently in Colorista but that didn't help the demo. Resolve seems not to have that problem.

Ned
 
Ned, now that you can view the files, would it be possible to post a full resolution framegrab of the footage?
 
Yes. I can do that. Won't be until some time on Friday.

Just keep in mind that this is pick-up footage, exposed by zebras and guess-work with no lighting, no reflectors, scrims, etc and outdoors on a dreary cloudy day.

Ned
 
nsoltz said:
Yes. I can do that. Won't be until some time on Friday.

Just keep in mind that this is pick-up footage, exposed by zebras and guess-work with no lighting, no reflectors, scrims, etc and outdoors on a dreary cloudy day.

Ned
Click to expand...

Much appreciated Ned!
 
Some frame shots from PPro, full res and exported as png. Remember-- these are pick up shots and hardware/firmware are still pre-release.


4K_Sequence.Still003.jpg

4K_Sequence.Still002.jpg


4K_Sequence.Still001.jpg
 
Looks like the cat's out of the bag:

https://vimeo.com/57778061

ProRes HQ:
http://dl.dropbox.com/u/9943583/F55 ACES.mov

This was all created in Resolve, from Ned's raw files. Using the ACES system which as part and parcel of the standard, also applies a film print "LUT". I think it looks great. I added just a simple primary look to the clips, to make them as cold looking as I imagined it was in January in New York. There wasn't much else to do with them :-)

BTW, since my Mac does not have enough video RAM, these are half-resolution debayers rendered to 1080p. A full resolution debayer should be a tiny (and I mean TINY) bit sharper and lower noise. If you can imagine.

It's hard for me to express how much latitude is available in these raw files. The only other raw files I've worked with are Blackmagic and Red, and they beat both by a fair margin from what I can tell. They are close to what I'd imagine Arriraw from an Alexa would be, simply based on noise level.

That print LUT in the ACES "crushes" a ton of shadow and highlight information that is there but not visible, even though it *looks* like nothing is being crushed because there's a nice toe and highlight roll off.
 
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Thanks for posting, Nate.

Yes. The Raw files have amazing latitude. And the F55 color is so rich. When I get the chance to make the screen capture of the Raw viewer, you will all be able to get another look.

Ned
 
Take note in these two grabs, just how important it is how the raw is processed:

4K_Sequence-1.Still002.jpg

Screen Shot 2013-02-08 at 11.30.34 AM.jpg

See how the sky blows out in Premiere? All of the detail in what looks like the overexposed sky is there, I promise you, I saw it in the file. But how the raw is decoded and brightness ranges mapped and rolled off has everything to do with the software doing the decoding.

Ned didn't do anything wrong. He's just at the mercy of how Premiere does things with that Sony raw.

This is kinda surprising for me too, I didn't suspect it made that much a difference. But the top Premiere raw grab looks like an FS100 to me. The bottom looks like an Alexa!
 
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GaryinCalifornia said:
This is what is not out there... how much RAM and what you need in your computer to do 4k like Red does with Red rocket.
Click to expand...

But doing full debayer and displaying is a different thing than simply working with and getting through the job.

I was doing Red work back in 2008 on a 2007 MacPro, and I'm sure that only had 1GB of *video* RAM on that card back when.

The *one* time I need 4K output, was when Red wanted an edit of my Green Day concert (that was shot on 11 Red Ones) for their 2009 NAB reel. I had to output 4K DPXs for them, but I certainly didn't have to VIEW it or work with it in that way.
 
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