DanielW

Wow.  I'm a goof.

After 3 days and like 6 visits into Premiere, I finally clicked on the correct source tab!  Damn this tiny m1 Mac screen!

If you click on Effect Controls tab, you then have to click on the Source tab nested under that (rather than the source tab at the same level as Effect Controls).  Whew!  Now I have the ability adjust Color Temp, Tint, Exposure, Color Space and Gamma as if I were doing it in camera!!!

Too bad Premiere is the slowest piece of software on Earth.  But, beggars can't be choosers.

I'm really surprised with how much of a struggle I am having tracking down something that will do proper raw conversion of r5 footage.  Are there any options at all?

In all cases I've tried Cinema Raw and Cinema Raw Light in clog, clog3 and clog-off:

• Final Cut Pro opens the Cinema Raw files just fine (all types) with the Canon RAW Plugin for FCPX.  However, I get no access to raw adjustments such as 'ISO' or White Balance in the info tab for the footage as I'd expect when converting Raw.  This is known and documented, so fully expected.  FCP only supports this feature for ProRes RAW FWIW.  Fine.
• Premiere Pro opens Cinema Raw just fine (all types), however it does not provide access to the Canon Cinema Raw settings I would expect.  Just the normal Lumetri Color panel settings that are applied after raw conversion.  I'm looking more for like C200-level support where you can adjust Temp, Tint and Exposure in Raw conversion.
• And the absolute prize goes to Canon's own Cinema RAW Development which won't even open the files.  Support for R5 Cinema Raw (Light) + clog3 is still pending, but I tried regular Cinema Raw + clog and clog-off and neither of those worked.  Maybe it doesn't work at all with files produced by firmware 1.3

I may try Resolve just to cross my Ts and dot my lower-case js, but I'm already paying for Premiere and own FCPX, so not really interested in buying a third software package.  I assume I can just wait for Canon to update and do my raw processing in Cinema RAW Dev to ProRes before importing into FCPX, but do I really have to wait for basic support by the manufacturer?

With the current state of things, I don't see much advantage to shooting Raw over 4K HQ clog3 for my purposes as you can't even post process it in a meaningfully different way, you just get more resolution.  I don't want to add a Ninja V+ as I am a hybrid shooting hobbyist.  I picked up an R5 over my Z6/Z7 so I could do everything in camera and have an articulated screen (the RF 50/1.2 and 15-35 didn't hurt, either).  For the record, I'm planning on shooting 4K HQ clog3 most of the time, but would like to have Raw as a reasonable option.  I'm wondering if I am missing something as a newb to Canon, the R5 and Cinema Raw.

Best

On 5/1/2021 at 8:22 PM, kye said:

Would that might make an 8K workflow achievable without a super computer?  I saw comments from the YT crowd that they couldn't edit the RAW files from the R5 even with their $30K+ Mac Pro computers. 

Does anyone here even own an R5?

It isn't the RAW that is a problem.  It is the 10-bit HEVC 4:2:2 you get from using 4K HQ + Canon Log that crushes any computer without hardware support for that codec (almost all of them).  AFAIK that pretty much limits you to late-model iPad Pros and m1 Macs.  It edits smooth AF on an inexpensive M1 Mac.  My 2019 3rd-gen iPad Pro won't even try to open them, though

7 hours ago, Andrew Reid said:

What would you guys choose if only one?

As a long time Nikon shooter (photography) that had been supplementing video with an a7SII, it was pretty simple to add a z6 to my kit.  My Nikkor kit is 20/1.8, 28/1.4, 58/1.4 and 105/1.4 (along with some manual focus primes).  Those never adapted great to Sony.  They are amazing on the z6 (especially the 28 and 105 with power iris).

I am pretty much in heaven now.  I have a d850 and z6 and a great set of lenses.  Sold off all of my Sony gear.

The a7S didn’t quite cut it for travel photography so I often lugged around a large kit.  Now a z6 and a few lenses is all I need to get it all done—photo and video.  If I had to chose only one body right now, it would be my z6.

Your points are spot on.  It makes little sense for those new to the hobby or canon, Panasonic Sony shooters to pick up a Z.  Adapters and lenses are coming, though.

Excited to dig into this profile.  I have been using VH S-Log with great success but am always interested in trying out new profiles.  Just purchased Z-Log this morning and will shoot with it later, but I will ask a question up front because it is something that had been bugging me with VH S-Log.

Why do these profiles clip shadows and highlights early in the histogram?  Separately, they also require 235 or lower setting on zebra for them to show up at all.  Without much knowledge, it would lead be to believe that, at the highlights end, these profiles throw away some of the largest buckets of data.  Neither Flaat nor Nikon profiles clip the histogram like this.  Being this is the second high quality "Log" curve to do so, I have to imagine there is some benefit to it.

Finally, how does the author of this profile get special access that the rest of us don't get through Nikon's desktop profile editor to remove the sharpness or did they just use that tool?  No shame either way, if it is good, it is good.  I just think the marketing of that seems a little misleading, especially when it is compared to Nikon Standard rather than Nikon Flat with sharpness turned all the way down.