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  • Finally a native DNG editing solution for Premiere

    Finally there seems to be a native DNG editing solution for Premiere.

    I have no idea, about bit depth (Adobes half assed importer only used 8 bit), but anyway, it seems a step in the right direction,
    and the implementation seems pretty simple.

    Also this sentence kind a stroke me:

    The BMC camera has some special behavior though. The RAW file has a crop size of 2400◊1350 but the original data size is 2432◊1366. However the extra data seems perfectly usable. So by enabling the Ignore Crop parameter you can squeeze out a slightly wider FOV. Itís not much bet every bit helps.


    http://19lights.com/wp/tutorials/raw...pper-workflow/

    What do you guys think?

    Frank
    Blog: http://frankglencairn.wordpress.com/

  • #2
    I'm very interested in this, while you can edit in Resolve it's no match for a proper editor and I can do away with Proxies. nice find Frank
    Lee MJ Daley

    DP, Animator, Finishing Artist

    leemjdaley.com
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    • #3
      It's developments like this that make me think I should get a BMC after it's been out for a while and the third party folks have had a chance to take some of the pain out of RAW.

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      • #4
        Originally posted by Frank Glencairn View Post
        Finally there seems to be a native DNG editing solution for Premiere.

        I have no idea, about bit depth (Adobes half assed importer only used 8 bit), but anyway, it seems a step in the right direction,
        and the implementation seems pretty simple.
        It runs in 32 bit float. And I know because I wrote it. (-:

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        • #5
          A few more notes on the latest version:

          -The latest version (2013-01-02) can load DNG files in Premiere Pro directly without creating a GNR file first. Please let me know if there are any issues (jhable at 19lights dot com)
          -If your DNG file has frame rate information, it will override what's in the GNR file.
          -Also, the latest version extracts the timecode (Premiere Pro only, not AE)

          I've got a question for the group. When you record a DNG sequence, how is the audio stored? It's in a separate WAV, right? When you load the DNG sequence, I'd also like to sync up the audio but I'm not sure of the naming convention.

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          • #6
            So how do you adjust the raw parameters? I know when I import a DNG sequence using the DNG importer from Adobe into Premiere the raw parameters window pops up automatically.

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            • #7
              So you have the nerve, to hang around here for over 20 posts, and not telling us a word? Gawd Dayuuum!

              Just kidding

              Thanks for doing this John, and I think I can speak for the rest of the crew here, it's very much appreciated.

              Here is, what the naming looks like

              NAming.jpg
              Blog: http://frankglencairn.wordpress.com/

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              • #8
                Wow, if you can use the dng directly it means I can later export the timeline to resolve and don't even have to relink it (like with proxys) but can directly grade the dng's right? If yes then just wow wow wow

                Additional question. After Effects loads the dng's so what happens if I say mark 2 clips and regroup then as AfterFX clip? It opens in AfterFX but how? With the Adobe CameraRAW or with Ginger?
                EF-BMCC 1300x00 - the lucky one

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                • #9
                  Originally posted by Kyle Presley View Post
                  So how do you adjust the raw parameters? I know when I import a DNG sequence using the DNG importer from Adobe into Premiere the raw parameters window pops up automatically.
                  Currently there are no RAW parameters. It's one of those features that I'd like to add, but haven't had time yet.

                  It's a long discussion. Also, it's a bit of a misconception that a RAW processor "needs" to have a bunch of parameters. The DNG includes all the data that you need to get linear data, and the goal of this plugin is to give you that data as cleanly and accurately as possible, just as if it were an EXR file.

                  Now, I agree that having importer options is useful from a workflow perspective. I'll be adding it, but it was clearly a lower priority then getting a working importer out the door. There is no difference between adjusting the contrast in the RAW importer vs doing a contrast operation in your grading tools. The one exception is white balance (because it adjusts where the colors get clipped).

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                  • #10
                    Originally posted by Frank Glencairn View Post
                    So you have the nerve, to hang around here for over 20 posts, and not telling us a word? Gawd Dayuuum!

                    Just kidding

                    Thanks for doing this John, and I think I can speak for the rest of the crew here, it's very much appreciated.
                    Thanks! I'll look into it. Are there any WAV files around online? It would help so I can check the format. I'm betting that it's 48000, 2 channel 16bit, but it would help to have a sample file to make sure there are no surprises.

                    Also, you didn't miss much from the delay. There have been a bunch of versions in different states of brokenness, and the native support (without the GNR file) was only added a few days ago. I generally like to quietly release new features, so that when they break only a few people know about it, and I can fix it before anyone else sees it.

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                    • #11
                      Originally posted by Wuudi View Post
                      Wow, if you can use the dng directly it means I can later export the timeline to resolve and don't even have to relink it (like with proxys) but can directly grade the dng's right? If yes then just wow wow wow

                      Additional question. After Effects loads the dng's so what happens if I say mark 2 clips and regroup then as AfterFX clip? It opens in AfterFX but how? With the Adobe CameraRAW or with Ginger?
                      As for relinking w/o proxies, I think that should work. I've never actually used Resolve, but what you are saying sounds right.

                      Any time After Effects loads a .DNG file it uses the Adobe Camera RAW importer. Any time you load a GNR file it uses the Ginger importer. That happens because After Effects doesn't allow any importer to load a file that it thinks it knows how to import. So in your case, it would use Adobe Camera RAW. However, if you were to mark 2 clips that were GNR files, and then group them in AE, then it should load with the Ginger importer. Not saying that I've done this, but I think that should happen.

                      In case you haven't noticed, you guys know much more about After Effects and Premiere than I do. (-:

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                      • #12
                        Nice. Too bad you can't do this for FCPX, but this makes Premiere look pretty attractive.

                        I would have only one question, which could only be answered by spending long hours with both workflows... are you actually saving time, in regards to precision in editing, or averaging the time out due to the slow playback speed?

                        Does 1/4 playback help at all? Just curious!

                        GOod stuff.

                        SKYPE (best way to talk to me): Camera_Kholi | twitter
                        Avery and Pete: Superseeds Feature Film Trailer

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                        • #13
                          Great workflow John.

                          Glad most are sticking to sequential frames.

                          Since DNG is sequential you avoid the stupid 2GB file limitations over SMB and AFP networks with Adobe products.

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                          • #14
                            Originally posted by Kholi View Post
                            Nice. Too bad you can't do this for FCPX, but this makes Premiere look pretty attractive.

                            I would have only one question, which could only be answered by spending long hours with both workflows... are you actually saving time, in regards to precision in editing, or averaging the time out due to the slow playback speed?

                            Does 1/4 playback help at all? Just curious!

                            GOod stuff.
                            Good question. As you all know, DNG files are pretty big, so the first bottleneck is HD speed. If you have slow disk access, then no matter what your DNGs will be slow. On the machine that I make these videos with, I just have a regular 7200rmp hard disk. So you all should have much better read speeds.

                            Also, the version that I made that video with is a bit older, and a lot slower. There are some significant speed improvements in the latest version.

                            So if you have a fast drive setup, then you should get almost realtime playback at half size (which uses the fast, low quality debayer). And then when you render at full size you should be able to get like 5fps or so. That will be much faster once the GPU version is ready. The rendering scales with the number of cores in your machine. My machine has one processor with 4 cores (sandy bridge) but if you have a motherboard with multiple processors it should scale.

                            Finally, the debayer is always at half size or full size. There is no quarter size. If you do a quarter size preview then it will do a complete half size debayer and then scale it down. There isn't much benefit to playing below half size, unless you have lots of effects running.

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                            • #15
                              That's wonderful John, exactly what I want. Editing in Premiere, then just opening the timeline in Resolve and working seamlessly in it.
                              And for AfterFX, there are some crazy clips (super highlight recovery) I think AdobeRaw does better, so linking them into an AfterFX composition I get AdobeRaw for those, tadaaaa

                              Is there a demo available to try out the speed of the realtime rendering (with democlips/dng's from other people as I'm still waiting for my camera
                              EF-BMCC 1300x00 - the lucky one

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