John Brawley
Well-known member
Too early to say. ProRes only just got approved by the Apple Folk just before NAB. I haven't had much chance to test it.
jb
Workflow: Working with DNG ....what are the options ?
- Thread starter kurth
- Start date
Too early to say. ProRes only just got approved by the Apple Folk just before NAB. I haven't had much chance to test it.
jb
John Brawley
Well-known member
I'm not advocating Proxies but transcodes with a match back.
I've heard PP actually can do DNG quite well on other forums...
jb
Fair enough. My only question is how do you deal with showing people a flat cut of something? Because I've never worked that way before, what would be the steps to get to a 1 light before showing a client say a 28 minute cut of a show?
I supposed you could just select the entire timeline and drop a generic color correction filter on them, not sure what render time would be like.
I've not known Davinci to store LUTS in raw media, but that could be interesting.
Also, when I say Proxy, I pretty much mean anything from a transcode that isn't going to be your master. Although it's the wrong way to use the term, to me, if you aren't going to master a 1080 transcode then those transcoded files are only as good as proxies. That stuff you get rid of after the project is done and hold onto/store the RAW and project file.
What about sound sync or multicam projects? Just thinking out loud here. Working with Multi Cam 1080 is already pretty rough on a system, how will multiple streams of CinemaDNG play on even the manliest of setups?
I guess Synicing sound probably wouldn't be a major issue, can't see why it would take longer but I haven't used that workflow before, so not sure what hitches you run into trying to put audio to 100 RAW files after the day is done. Hmm.'
Well, I'm interested in this workflow. Probably won't go this route but it's good to have an option.
Postmaster
Dark Side of the Camera
I would probably just slap a LUT (via LUT Buddy) in Premiere on the whole timeline - usually it works without rendering, haven´t tried that with DNG though.
Multi Cam would probably bring even macho workstations down to their knees.
Ah LUT Buddy yes.
Also curious about what possibilities FCP-X Holds for CinemaDNG. I haven't installed it yet, or even tried messing with it, but it sounds like it's getting better and better.
Jaime Valles
Veteran
Here's the workflow I'm thinking for now (to be used with whatever the next version of the 17" MacBook Pro that comes out):
I have no problem working with proxies. Super-smooth editing, no worries about needing a beefy workstation. The only thing I'll have to manage properly is storage space for the RAW DNG files. That's gonna take a LOT of HDD space. Hopefully someone comes out with a HDD docking station with Thunderbolt...
- Shoot RAW 2.5K in camera
- Generate 720p ProRes LT files in Resolve with basic 1st light coloring
- Edit in Premiere CS6 (it should be around by then)
- Generate an EDL
- Back to Resolve, conform and color grade using the RAW files
- Probably render out a DPX sequence
- Back into Premiere (or perhaps After Effects) for final tweaking and making the master deliverables.
I have no problem working with proxies. Super-smooth editing, no worries about needing a beefy workstation. The only thing I'll have to manage properly is storage space for the RAW DNG files. That's gonna take a LOT of HDD space. Hopefully someone comes out with a HDD docking station with Thunderbolt...
Melvin Harris
Black Flag Member
Im looking at this workflow because I want to do my sound mix in Protools... Does anyone have experience with this? I figure going the proxy route so I can import them to the DAW, but is there a better way?
That's pretty much your basic workflow. Although I feel like you'd have a better time just exporting a 720 refernce print for each reel into protocols instead. Timecode, etc. for that purpose it doesn't matter how you deal with footage.
Only curious thing is what you would do in after effects afterward resolve, Jaime? You mean for titles?
Only curious thing is what you would do in after effects afterward resolve, Jaime? You mean for titles?
Melvin Harris
Black Flag Member
Que?
Meant protools. iPhone likes to say what it wants.
So basically just exporting a reel that's 720 with timecode burn in to go with your sound export (forgot what it was called).
You mean like these?
Seagate's Goflex for under $139 (seen as low as $100)
http://www.bhphotovideo.com/bnh/controller/home?O=&sku=840972&Q=&is=REG&A=details
or Western Digitals My Book Thunderbolts?
http://www.amazon.com/s/?ie=UTF8&ke...vpone=&hvptwo=&hvqmt=e&ref=pd_sl_9i3sg714kt_e
Note: Obviously the Seagate's is more of a docking station, but the WD can be used as one too and can be daisy chained from what I've been trained on.
One thing to consider when purchasing Thunderbolt items is they can be daisy chained if they are built for it. The WD is stated to have 2 ports so you can see the advantage there. "
User-Serviceable
To replace a drive, just open the case and exchange the existing drive - no tools needed. If you fill up a drive, you can simply remove it and replace it with a fresh drive and begin saving even more of your creative lifeWhat system specs are you using for the DNG files and which NLE?
REDRAW needs a lot of CPU usage (thats why they are selling you the REDROCKET for 4750$, to be able to encode redraw in realtime...)
What you need for a DNG sequence is a fast RAID setup.
Continue the discussion at BMCuser.com. A new Landmine Community for Blackmagic Camera Users