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BM Micro RAW footage over-exposed and not flat


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I'm after a solution for a problem I had at a wedding on Saturday.

I shot with the Micro (my third wedding with this camera, no issues in the first two) and used the Small HD 501 to monitor (my first wedding with that).
The Micro was set to uncompressed RAW, film and ISO 800 all day.

During the day the image on the monitor was excellent and gloriously flat.
However, when I import the DNG's into Premiere Pro the footage is over-exposed and definitely not flat.

Please see the comparison below. The first is the image directly out of Premiere Pro CC 2015.4. The second is off the Small HD when I inserted the SD card back into it to check my image. No Look was applied on the Small HD but just to be sure I connected up the Zacuto Gratical HD and got the same flat image.

I would love some help with this aberration as much of the footage in it's un-RAW, over-exposed state is unusable.

Overexposed_image.jpg

Image_off_Small_HD_screen.jpg

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It'd been ages since I've imported RAW into Premiere, but is there a setting that applies a look or a curve or a gamma to your footage? I use Resolve for my BMMCC footage (I shoot 3:1 RAW) and Resolve automatically applies a default colour space and gamma, if Premiere does the same thing then it might be applying the wrong colour space / gamma?

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Hey spinkscapes, as the others are saying, your solution will lie in the interpretation of the raw footage. Don't know your experience with raw workflow so disregard if you know this all already but because you were shooting raw, the flat "look" that you were getting on your monitor is just that, monitoring output. If you were shooting prores, it would "bake-in" that flat look, but raw footage doesn't have any "baking-in", or any other processing done to it for that matter. With raw, it requires interpreting and grading as you will notice what looks like large amounts of contrast, a lack of sharpening and noise reduction etc... This is the flexibility that you are afforded with raw. You can recover all those highlights no problem, they aren't gone! Throw a dng into lightroom and just drop the highlights to -100 and you'll see exactly.

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It is quite overexposed, but information is still here. You can process the footage in ACR through After Effects and import it back to Premiere (or dynamic link).
Camera Raw 9.7  -  Blackmagic Micro Cinema Camera.jpg

In premiere importing the dng directly, using lumetri, here is what I have using default sequence settings :
Adobe Premiere Pro CC 2015.4 - TCreaPrtest_bmraw.prproj .jpg

However, if you tick "Maximum Bit depth" on the sequence settings, you are now able to recover some of the highlights but still not as good as ACR.

Adobe Premiere Pro CC 2015.4 - TCreaPrtest_bmraw.prproj _2.jpg

I would then suggest to export your raw files using ACR (in After effects) to a "log" file, and then use it in premiere.

Any other ideas ?

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24 minutes ago, Justin Bacle said:

It is quite overexposed, but information is still here. You can process the footage in ACR through After Effects and import it back to Premiere (or dynamic link).
Camera Raw 9.7  -  Blackmagic Micro Cinema Camera.jpg

In premiere, using lumetri, here is what I have using default sequence settings :
Adobe Premiere Pro CC 2015.4 - TCreaPrtest_bmraw.prproj .jpg

However, if you tick "Maximum Bit depth" on the sequence settings, you are now able to recover some of the highlights but still not as good as ACR.

Adobe Premiere Pro CC 2015.4 - TCreaPrtest_bmraw.prproj _2.jpg

I would then suggest to export your raw files using ACR (in After effects) to a "log" file, and then use it in premiere.

Any other ideas ?

I would not recommend the Lumetri exposure slider.

I would recommend instead ProcAmp. In ProcAmp reduce Contrast and Brightness but make sure Clamp Signal on the Scopes is off otherwise you cannot see if you clip the signal.  Then after this slightly adjust the temperature in the Lumetri panel like so:

procamp.jpg

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  • 1 month later...

Lumetri is (sadly) nowhere near ACR in using the DR of Raw (or even Prores). ACR is much better and I have almost given up on Lumetri. You can use AE to grade the Raw sequence and if you use prores (In the future) you can use PP :-)

In my opinion you loose almost 2-3 stops of DR using Lumetri...

 

 

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4 hours ago, spinkscapes said:

So what do you suggest? Do I need to learn Davinci Resolve?

Resolve is a one way street when dealing with Raw..  And its colour tools are much better than Premiere's in my humble opinion.. Resolve is made by Blackmagic to actually digest the footage its cameras produce... Granted its is not as easy to use as premiere yet, and the learning curve is a bit steep

I share your agony in getting this footage but hopefully everything will be ok .As long as the bride looks great , windows with  blown highlights etc are of no consequence or use..

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From my experience, BMD CineDNG files always default at Rec709 color and gamma space. Not sure how you'd do it in Adobe (maybe Camera RAW?), but in Davinci Resolve you can decode your footage by using the 'clip' option under the camera tab, then selecting Blackmagic Design Film. Everything will be back to how you saw it in camera and ready for grading.

This is how I see your original recording:

 

EosHD Member RAW.png

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