Thread: Finally a native DNG editing solution for Premiere

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  1. #61  
    Senior Member mbeck's Avatar
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    So, I installed the trial, and it works.

    I do have some questions though.

    Footage looks real dark. I assume that is because it is just giving me a linear file to start with. Thats cool, but where should I be setting levels? with the HDR plugin? Same goes for white balance. Where do I set that?

    Thanks!
    -Michael Beck
    RawCinema.net
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  2. #62  
    Senior Member mbeck's Avatar
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    I just did a quick test with the Tone-mapper (basic) plugin.. Fun to play with!
    -Michael Beck
    RawCinema.net
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  3. #63  
    Member rubiocesar83's Avatar
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    Quote Originally Posted by Kholi View Post
    Might have to build the RAID 10 thing that Caesar's talkin' about! xD
    BTW guys:

    Here are excellent articles about RAID arrays, if you subscribe to the blog you can download the whole chapters as a PDF book (AFRAID) for free.

    Thanks,
    CR.
    It's the long term experience of problem solving what makes you successful! & what we do in life, echoes in eternity.

    http://www.dna-rubio-s3d.net/

    http://armageddon-messenger.blogspot.mx/
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  4. #64  
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    Thanks Cesar. I'm also currently leaning towards RAID 1+0 instead of 5 or 6, as the inherent problems with those methods that I keep reading about make it sound like the money one will save on hard drives, might cost someone dearly in the long run.

    Also, what is currently the best Premiere->Resolve (and back to Premiere) workflow? The premiere-->XML seems to keep putting shots in at random, even shots that were not in the timeline appear in different places.
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  5. #65  
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    Quote Originally Posted by John Hable View Post
    Hey guys, so I think I've figured this out. The problem had to do with Timecode. Anyways, I think it's fixed now in a new version (2013-01-18). I just created an EDL and got the Afterglow footage to open in Resolve.

    You probably already know this, but you have to be very careful with your time and sequence settings. The Afterglow footage was shot in 24. If your source is 24 then make sure that your sequence is 24fps (NOT 23.98) and that you disable "Drop Frame" in the EDL export menu. Otherwise the footage will get misaligned. Please try it out and let me know if it works for you.

    Also, I've got a question for you guys: How are you importing the footage back to Premiere Pro?

    BTW: This version also should import the WAV files. When you import the first frame it will check for a WAV file in the same directory with a similar name. It should work fine, but if it doesn't you know where to find me. (-:
    Hi John, I tried exactly that, and am still having problems, can't link to the file/can't import EDL or XML. Tried making a dedicated sequence with just a single DNG clip from Premiere, both EDL and XML, won't import. Not sure what I am doing wrong. If there are any suggestions, please let me know!
    Thanks
    Martin
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  6. #66  
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    Ok found out that I had to

    import my DNG's into resolve first
    un-tick every box in the XML import dialogue (no auto import)
    set timebase
    no resizing (davinci auto scales anyway to fit frame of project)

    And all imported and connected nicely, correct in/out timecode etc.

    in my case as I was mixing with other footage in premiere on a 1080p timeline, and had resized the GNR reference files to match the rest.
    By not checking resize in the XML import dialogue, and setting my Resolve timeline and delivery tab to 1080p, re-importing into premiere gave the correct framing.

    Someone said that Resolve scales better, but then there is the extra res gained from the GNR. Need to test and compare this.
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  7. #67  
    Senior Member Alex Primehd's Avatar
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    Sadly, it appears GingerHDR is no more, according to their web site and blog post.

    Much respect to John for what he did.

    On the other hand, I'm not 100% convinced that editing DNGs in NLE natively is the way to go.

    For example, intermediate codec lets you work on a weak computer with small storage, and/or exchange your footage and project far more easily with other editors... etc. There are more advantages to the RAW workflow with intermediate video - see here.
    Last edited by Alex Primehd; 12-05-2017 at 08:43 AM. Reason: updated link
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  8. #68  
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    Quote Originally Posted by John Hable View Post
    I wouldn't be so sure about that. (-:

    If it plays faster in half speed than it does in full speed, then the bottleneck isn't your disk. Also, your OS might do some caching under the hood. So when you play a sequence the first time it's very slow but the second time it might be fast because the OS kept the data around under the hood.
    I have experienced this working with 16 bit 2k tiff sequence transcodes in Lightworks. 10 bit or 12 bit DPX plays fine. Seems like the practical upper limit for single SATA 3 7200 RPM drives for consistent performance is more like 75-80 MB/sec continuous including overhead.
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  9. #69  
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    I upgraded my Raw 4 Pro to 5.1 this weekend. I'm liking the 10 bit Cineform export option for an editing intermediate. 176Mbps in 2k. Runs very well in my Lightworks NLE off of single media drives where the CDNG files really need a raid array.
    Cineform sample basic grade and H.264 export from Lightworks NLE.



    I think this will be my new preferred fast turn workflow for simple web videos. Save Resolve for more sophisticated grading needs. The quality is definitely better than running CDNG native in Premiere or Lightworks.
    Last edited by razz16mm; 01-11-2016 at 02:35 PM.
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  10. #70  
    Senior Member Alex Primehd's Avatar
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    Quote Originally Posted by razz16mm View Post
    I upgraded my Raw 4 Pro to 5.1 this weekend. I'm liking the 10 bit Cineform export option for an editing intermediate. 176Mbps in 2k. Runs very well in my Lightworks NLE off of single media drives where the CDNG files really need a raid array.
    Cineform sample basic grade and H.264 export from Lightworks NLE.



    I think this will be my new preferred fast turn workflow for simple web videos. Save Resolve for more sophisticated grading needs. The quality is definitely better than running CDNG native in Premiere or Lightworks.
    Thanks, and please note that we have a very quick promo deal going on right now. The readers of this forum can upgrade to the newest UNLIMITED edition of RAW 4 PRO (many benefits, see version comparison here) at a super low price. Just $29 instead of the usual $125 or discounted $110. Enter code bmcuser2017

    Thanks for reading.



    R4P girl free Cineform 300 v1.jpg
    Last edited by Alex Primehd; 12-05-2017 at 08:59 AM.
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