Magi Lantern and RAW workflow doubts

Kholi said:
Im not complaining at all. It's fine, I had no intent to cut raw and not sure what the benefit of it is when you're in an environment that requires you compress versions of an edit for clients to watch.

I would like it just for my personal use, when shooting random tests or scrubbing footage but it hasn't been an issue at all. I go right out to ProRes 720 or 1080 to cut, and only return to CinemaDNG for color.

Stopped using Hacktinmacs six years ago or so. Just need something that works as is, personally.
Click to expand...
I agree. But step back for a second and realize you are doing that on a LAPTOP! Can't really review footage in an airport with a hackintosh. I've had no issue working with BMC files on the MBPr using a workflow that Kholi describes.
 
dustylense said:
But step back for a second and realize you are doing that on a LAPTOP!
Click to expand...

I have a MacBook Pro (2011 17") and a Windows desktop I built myself for video editing...I use my laptop when a) I'm on the road and b) I need something Mac-centric. Otherwise, I never touch it when I'm at home. Just a more pleasant experience to work on a traditional desktop, even though at the moment they are both roughly comparable as far as how well they perform (which is interesting, because my desktop is a Core 2 Quad, but render times are more or less the same on both).
 
Kholi said:
Im not complaining at all. It's fine, I had no intent to cut raw and not sure what the benefit of it is when you're in an environment that requires you compress versions of an edit for clients to watch.

I would like it just for my personal use, when shooting random tests or scrubbing footage but it hasn't been an issue at all. I go right out to ProRes 720 or 1080 to cut, and only return to CinemaDNG for color.

Stopped using Hacktinmacs six years ago or so. Just need something that works as is, personally.
Click to expand...
I like to avoid the extra step of proxies and XML's and stuff. Did that all last year and its totally fine method too. Avoiding it simplifies life that much more for me. I use speedgrade on MBP 17 on the road. It plays back and grades raw just fine in real time. I have been on this road for awhile with my A-CAM. there are many good roads now for uncompressed raw. You do not need a Hackintosh. Mine is a plain ol' 2009 mac pro a a extra GPU.
 
Samuel H said:
* 100 minutes of RAW recording at 1920x1080 and 24 fps means 522 GB
* por optimal quality, import the DNG stream directly into AE; if that's too painful to edit, do your color correction there (not the grading, just the first light), and export to prores (quality will be a lot better than recording prores from the HDMI)
* even with a decent workstation (intel 3470, lots of RAM, nvidia graphics card, and SSD) playback in AE will be at less than 2fps; no idea about slower systems
* SD cards: still unknown, but it seems like the SD controller will be a bottleneck
Click to expand...

Why do the light edits in AE/ACR when that is when you have access to most information and when stills processing tools tend to be more powerful than many video color editing tools. The sliders in the latest ACR are way powerful and the NR controls are quite good too. You can quickly get it so you barely need to touch anything later on.
 
ras815 said:
And also, for a lot of situations, completely unnecessary. The H264 codec, while not ideal, is perfectly well-suited for most productions (especially for the web). Far more important, as always, are proper lighting and proper exposure. RAW is a nice luxury to have, but it certainly isn't going to make a better film.
Click to expand...

It could if it is more of a nature, natural world scenics sort of film where supporting larger DR and not smearing all the beautiful details away can make an immense difference!
 
giantsumatranrat said:
Why do the light edits in AE/ACR when that is when you have access to most information and when stills processing tools tend to be more powerful than many video color editing tools. The sliders in the latest ACR are way powerful and the NR controls are quite good too. You can quickly get it so you barely need to touch anything later on.
Click to expand...

Sorry, I meant "for optimal quality, import the DNG stream directly into AE, then the ACR pops up and you color correct the clip there; click done and you have it ready for use inside AE; if that's too painful to edit, once you've done your color correction there (not the grading, just the first light), export from AE to prores (quality will be a lot better than recording prores from the HDMI)"
 
You must log in or register to reply here.
Back
Top