Workflow: Working with DNG ....what are the options ?
- Thread starter kurth
- Start date
Based on second hand info, my understanding was the the 3G-SDI link was for monitoring only. The thunderbolt output would have the properly debayered output.
Postmaster
Dark Side of the Camera
Just tried to load some 12bit CineDNX files into Premiere - doesn´t work. There is an importer plugin from Adobe, but it also acts up.
After Effects eats the CineDNX single frames and the MFX version just fine.
If you load the single frames (click on the first frame only) a window that looks like the Photoshop RAW importer pops up and you can do 1stLight corrections.
You could now create proxie files from this or just import the AE project in Premiere.
Still a bit slow and awkward, but technically it works.
I hope Premiere CS6 can handle the files natively though, so we can skip the AE processing.
On the other hand, I expect 80% of the BMCC users gonna record in ProRes anyway, so you just can drop the material on the timeline and start editing.
Frank
After Effects eats the CineDNX single frames and the MFX version just fine.
If you load the single frames (click on the first frame only) a window that looks like the Photoshop RAW importer pops up and you can do 1stLight corrections.
You could now create proxie files from this or just import the AE project in Premiere.
Still a bit slow and awkward, but technically it works.
I hope Premiere CS6 can handle the files natively though, so we can skip the AE processing.
On the other hand, I expect 80% of the BMCC users gonna record in ProRes anyway, so you just can drop the material on the timeline and start editing.
Frank
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Although John and I both already posted this in response to your first post... I can't figure out why you're trying to work directly with RAW for an edit...
It's the worst way to work with raw material IMO. The process is pretty simple...
Resolve: 1 Light > Proxy > NLE > XML/EDL > Resolve: Color (can be as simple as applying a secondary LUT to all clips, drag and drop) > XML/EDL > NLE > Master > Deliver
The only real concern (I guess this is opinion) would be how fast CinemaDNG is processed through Resolve and what kind of benefits a serious GPU (or GPUs) and CPUs are for decreasing transcode times.
The entire AE process is unnecessary.. .that's why they include Resolve with the camera.
I forsee raw almost unworkable for a lot of people- in practice.
which is better. 1, 2, or 3
1 Shoot directly in prores or DNXHD
or
2 SHOOT in RAW / then immediately transfer to favorite editing codec / then destroy raw files to release drive space.
3. Same as 2, but possible cineform as the new master.
any thoughts?
thanks
which is better. 1, 2, or 3
1 Shoot directly in prores or DNXHD
or
2 SHOOT in RAW / then immediately transfer to favorite editing codec / then destroy raw files to release drive space.
3. Same as 2, but possible cineform as the new master.
any thoughts?
thanks
It'll all depend on what you're doing. I'm so used to shooting RED RAW that it's probably always gonna be 2, but it's good to have the option of 1+REC709 for really quick stuff.
thanks Kholi, yeah I figured 2 as the highest quality workflow, plus saving space.
, my basic needs would
a. general footage for features/ web.
b. GREEN screen { Ive never shot 4 4 4 green screen before, so I dont know if the improvement will justify shooting raw , transferring best takes to edit format { destroy raw footage}
I should add I dont know what codec to green screen in from 4 4 4 raw .
{ or just green screening with 4 -2-2 , as now }
c. Matching to 3d animation / vfx
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No reason not to use CinemaDNG unless you just don't like the workflow.
Resolve > DPX = Real deal Keying
Could also use ProRes4444 out of Resolve. Either way, all things equal you'll pull a better key every time.
Again, CinemaDNG.
That's the thing, you could always work with the slightly lesser format, so it's your choice.
thanks, never used the workflow.
not sure what you mean by real deal keying. i guess you mean finally the real stuff!
I notice they like dpx key on the red forum.....
thanks Kholi, really looking forward to getting my hands on this puppy!
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Kholi and John ...thanks - giving me a beginners primer - personally I don't see any reason to buy this camera unless your'e going for the 13 stops by shooting raw - and since john is using a 17 macpro...I think the macmini server edition might be the cheapest entry point for macs - thanks again and look forward to the faq
Ultrascope will need a macbook pro or air + short form editing can be done on a macbook pro = macbook pro for everything
... but there is plenty of time to wait for the new ivy bridge release.
Postmaster
Dark Side of the Camera
I´m just trying out some workflows.
I stopped using proxies about 12 years ago, cause my NLE was ab able to handle compressed and uncompressed SD and (later) HD material in real time - so why waist extra time and disc space on proxies?
And now I´m trying to find out, if Premiere also plays with DNG in the same way.
Talked to some guys in the know, and they said, that CS6 will be able to deal with 2k 12bit in real time on a macho workstation.
So there is no reason for me to take a tour through several programs.
Grug
Veteran
John, I read your thoughts on the Alexa and how close its ProRes output comes to its graded Raw output, any thoughts on how the BMCC's Raw and ProRes outputs compare? Are they equally similar?
best option is to transcode in cineform RAW ...3.5:1 for VFX and 5:1 for other ...bitrates would be similar as prores but you stay in RAW workflow ... and is not hardware intensive ....personally i wouldnt consider any other option for high quality work....
for other DNxHD...
for other DNxHD...
I'll probably start off just using DNxHD (185x?) then moving to raw as my technique improves, and Thunderbolt appears on Wintel laptops.
My beef is with the mac-centric file format (Why not NTFS that everyone uses?). Yes I know there are work-arounds, but there shouldn't have to be.
Oh yes, and I would NEVER destroy my raw files, EVER.
My beef is with the mac-centric file format (Why not NTFS that everyone uses?). Yes I know there are work-arounds, but there shouldn't have to be.
Oh yes, and I would NEVER destroy my raw files, EVER.
Trucci
Well-known member
If what John Brawley said was true, that Prores/DNxHD delivers similar dynamic range, I may just skip RAW except for certain demanding shots like green screen stuff. Getting 5 times the storage space over RAW is pretty attractive, and being able to edit directly is even more efficient than the hacked GH2 workflow I have now.