F5: Question about editing Sony F55 RAW Footage

F

FilmBoy77

Veteran
I have some green screen footage shot in RAW format with the F55 from a client today. It's 4k footage and I noticed that pulling a key is very difficult. It's lit well for the most part, but when I pull a key in AE it's not clean and pulls out portions of the actors as well. Is there anything I need to do to this footage beforehand?

I typically edit green screen footage from other smaller cams and smaller resolutions and don't have this issue. Is the RAW footage different somehow?
 
Not sure about RAW (haven't worked with it yet) but probably pretty similar to log footage, you pull green screen key out of normalised to 709 footage and apply matte to the original one.
 
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RAW is RAW. It needs to be graded or processed somehow before it can be used properly. How are you processing it BEFORE you get to your keyer? Are you applying a LUT, grading by hand, etc.? RAW requires extra steps.
 
We ran into similar issues with some blue/greenscreen work with Sony Raw and AE on a project last year. Basically AE didn't want to play nicely with the raw files. Applying the rec709a LUT and transcoding to DPX allowed us to get our keys. Resolve is great because you can heighten the green/blue before pulling it into AE, which makes the keys easier.
 
Doug Jensen said:
RAW is RAW. It needs to be graded or processed somehow before it can be used properly. How are you processing it BEFORE you get to your keyer? Are you applying a LUT, grading by hand, etc.? RAW requires extra steps.
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Oh I didn't know it had additional steps, I was basically just bringing the raw file into AE and applying keylight. How do I need to process it prior to that? Is it something I need to do in premiere or AE first?

Grug said:
We ran into similar issues with some blue/greenscreen work with Sony Raw and AE on a project last year. Basically AE didn't want to play nicely with the raw files. Applying the rec709a LUT and transcoding to DPX allowed us to get our keys. Resolve is great because you can heighten the green/blue before pulling it into AE, which makes the keys easier.
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Where do I ge the rec709a LUT from and how do I transcode to DPX? Sorry I haven't done either before I'm doing this as a favor for someone and haven't worked with this type of footage before.
 
I'm pretty sure Resolve 12 comes with it, but if not, a quick google will track it down for you.
 
I downloaded the sony viewer and exported out an open EXR sequence and still getting the same results pretty much...HOWEVER i changed the color space in after effects to rec709 and noticed a better difference with the RAW footage versus the EXR sequence.

Doesn't AE cc 2015 support RAW now? Just trying to nail down if I haven't sone something to the footage and missing a step before bringing into AE or if I just need to key the footage better and this is user error related in terms of using Keylight?
 
As Doug Jensen said, you need to apply an appropriate LUT, first, to convert to your delivery colorspace, probably REC709. The LUT you choose depends on what space the RAW files were recorded in, Slog2, Slog3, or Slog3.cine.
 
Why shoot RAW then if you aren't actually going to spend anytime in Resolve or some other professional software to take advantage of the benefits of RAW? What a waste of RAW. And Catalyst Browse is not up to the task of processing any footage, it is a clip viewing program at best. Next time you should shoot XAVC-I with a baked-in Scene File and just be done with it if you don't want to expend the necessary effort for RAW.

Since it is too late and the RAW footage is already in the can, bring it into Resolve, grade it properly, and then export as ProResHQ and then do what you will with it in AE. The key step is to grade it first in Resolve and this means more than throwing some crappy LUT on it.
 
Doug Jensen said:
Why shoot RAW then if you aren't actually going to spend anytime in Resolve or some other professional software to take advantage of the benefits of RAW? What a waste of RAW. And Catalyst Browse is not up to the task of processing any footage, it is a clip viewing program at best. Next time you should shoot XAVC-I with a baked-in Scene File and just be done with it if you don't want to expend the necessary effort for RAW.

Since it is too late and the RAW footage is already in the can, bring it into Resolve, grade it properly, and then export as ProResHQ and then do what you will with it in AE. The key step is to grade it first in Resolve and this means more than throwing some crappy LUT on it.
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It will go to a colorist after I have cut it together, but they haven't hired that person yet. This is just a 1 minute clip of greenscreen that I cut together for someone and now just needs to be keyed, I didn't shoot it.

I don't have the paid version of Resolve and this is 4k footage so I wouldn't be able to export it with the free version from what I understand.

I was under the impression I could boost the green values and make limited color grading adjustments in sony viewer or catalyst and then bring the footage into AE and apply a LUT if necessary but the color adjustments don't seem to export out of the viewer.
 
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