Bare-bones RAW --> ProRes question (have mercy on a newb)

[Casey Danielson]

Please help a newb with a RAW workflow experiment! Please share your simplest simple workflow from RAW footage to ProRes for editing, that benefits from the RAW's detail/sharpness, and can be done on a non-workhorse iMac?

What I would like to do is shoot a short test in BMCC 2.5k RAW in such a way that I benefit from the detail/sharpness of RAW video, but only use the RAW files as proxy files, to be converted right away to ProRes files for editing. I've only shot in ProRes on the BMCC, so I don't know how intensive this would be. I also know that, as I'd eventually be editing and grading the lossier ProRes files, I would *not* be benefiting from the RAW's dynamic range. Only the sharpness. I'd be voluntarily throwing away a lot of data, but I'm just trying to see how much detail I can get, independent of the lost dynamic range.

It would be kind of like doing my own coding-decoding, sidestepping the benefits of DaVinci Resolve, into a format that my computer and I are comfortable working with, and that has more detail than the BMCC's native ProRes.

[Casey Danielson]

PS. I only have DaVinci Resolve Lite :( but I usually use Magic Bullet Looks.

[Casey Danielson]

Is there a benefit to shooting like this? Anyone?

[Chris Barcellos]

Casey:

The benefit of raw is the increased capability of post color correction, which includes an expanded dynamic range. In short, your highlights and your shadows will have detail that may not be available in now raw codecs.

I use PC, so if shooting raw, I will often convert to Cineform raw for editing purposes. The proceess retains the benefits of raw, while coverting to an editing codec that can be worked in most editors.

[David Chapman]

Currently, shooting RAW on the Cinema Camera and then processing into ProRes HQ in Davinci Resolve provides a better debayered image (cleaner, sharper). The next firmware release (version 1.8) will have a new method for ProRes debayering that will solve that, giving more reason to shoot ProRes over Raw for most people.

That said, there are many scenes that have a wide dynamic range (bright windows, skies or lamps) where shooting RAW and then applying a primary color pass will give your image a look that you couldn't get in ProRes. You can bring down the highlights to show the sky while keeping your subject exposed.

1. Shoot your scene with zebras at 100% (to see where the sensor is clipping)
2. Bring your cinema dng's into resolve (the Media Pool)
3. Create a new timeline (uncheck empty timeline in the name dialogue so all clips will flow in)
4. Make sure your clips are set to BMD Film in the Raw tab (or project settings)
5. Apply a second color node to your clips
6. Run a primary color adjustment

- The first node will be where you make your adjustments. The second node you will right-click and select a 3D Lut for Blackmagic Film to Rec 709. This will immediately make your clip colorful and add contrast. You will need to go back to the first Node and change exposure, curves, lift/gamma/gain to your taste. You don't want to adjust these things on the same Node that has the Lut applied.

7. In the Render tab, right-click your clicks and select "render all" and select your output module settings. I usually select 1080p 23.976. Check that audio is output and that individual clips is checked. Also, check to use original file names. Then hit render and you have your 1-light grade on all your clips. Edit away and trash your Raw if you are happy with them.

[Casey Danielson]

David, the updates you mention on DaveChap Films sound really exciting. Any idea why Blackmagic Design is dragging their feet?

[David Chapman]

I don't think they are purposefully dragging their feet. I bet their beta testing process is just taking longer and they may have encountered a few bugs they need to fix before releasing it to the public.

[Casey Danielson]

Well, thanks for giving us 2.k-ers something to look forward to!