Odyssey 7Q/Fs700 .DNG files importing as REC709?

B

Billybuzzz

Member
Maybe someone can help me here. I've been shooting some high speed clips to the Odyssey 7Q with latest firmware. Recording files in 2K .DNG. When I import my .DNG file to After Effects, Photoshop, or Premiere, they come in appearing as REC709, not the SLOG2 that I shot them in? How do I avoid this? The problem is everything else I shot in 24P Proress is in SLOG2 and it doesn't grade the same. Any help would be great Thanks.:Drogar-Mad(DBG):
 
The default for importing Raw DNG's through After Effects is through Adobe Camera Raw which applies that default contrasty look.
I've never found a way to work with Raw Slog2 in After Effects so save yourself some headaches and grab the free version of Davinci Resolve. It fully supports the raw files from the 7Q and will do exactly what your asking :)
 
DNG files are not Slog2 despite the camera being set to Slog2. DNG files are linear light and the darkness is perhaps just importing that incorrectly. ACR deals with Linear properly but sometimes the exposure can be off.

cheers
Paul
 
Thanks Kyron and Paul. I'm just trying to figure out a consistent work flow to match up my SLOG2 proress shots with my DNG shots. There's not much out there explaining this scenario too well, at least I haven't found it. I did try Davinci Resolve Light, and although it does look promising, I really don't understand the workflow and interface, I'm willing to learn it, but just don't have time at the moment. I was hoping to find a solution within the realm of Adobe.
 
The easiest thing you could do is import your 2k High speed DNG sequences into Resolve with the recommended settings for the 7Q and render it straight out to a prores file (or your intermediate codec of choice.) You can then use this in your adobe project and the clip should match the rest of the slog2 prores files you have. The Davinci interface is a little bit of a learning curve, but for a simple file conversion like this, it's actually pretty easy :)
 
We are preparing a series of video tutorials for such work. In the meantime, there's a very good document written by Nick Shaw in the Knowledgebase section of the Convergent Design website that should help you.
 
Thanks Mitch, as always you are super helpful. Funny thing is, I bought a 7Q+ recently thinking I would sell my 7Q. Come to find out, I really like having two units. My 7Q on my FS700, and 7Q+ on my A7s or F7.
 
Billybuzzz said:
Thanks Mitch, as always you are super helpful. Funny thing is, I bought a 7Q+ recently thinking I would sell my 7Q. Come to find out, I really like having two units. My 7Q on my FS700, and 7Q+ on my A7s or F7.
Click to expand...
All clients should think just like you!!

Once you shoot with an Odyssey, how could you ever go back?
 
It's true, I can't stand working on footage unless it's 4K Proress or DNG. Everything else is savage!:happy: One thing that I have found incredibly useful in my Q7 flow is a Rocketstor 5212. It's a dual slot hard drive dock that connects via thunderbolt, bought mine last summer when I got my Q7. Drop both SSD's in and copy files in a flash.
 
Billybuzzz said:
It's true, I can't stand working on footage unless it's 4K Proress or DNG. Everything else is savage!:happy: One thing that I have found incredibly useful in my Q7 flow is a Rocketstor 5212. It's a dual slot hard drive dock that connects via thunderbolt, bought mine last summer when I got my Q7. Drop both SSD's in and copy files in a flash.
Click to expand...
Yup, that dock is a fast one. Excellent Thunderbolt goodness.
 
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