cpc Posted June 5, 2017 Share Posted June 5, 2017 35 minutes ago, mercer said: @fuzzynormal you can process the color from the outset, but you don't have to. For CDNGs, once you bring the Raw files into Resolve, the only real necessity is to turn them into ProRes, unless you only use Resolve from ingest to export. It's probably smart to also fix your WB, if needed, before rendering as ProRes. Then open the ProRes files in your NLE, edit and color as you like. If you want more latitude you can send the project back to Resolve for color and then send it back to your NLE for delivery. I usually just use the ProRes files in my NLE for edit, color and delivery and never go back to Resolve. Some people use different Log profiles. For the 5D3 I use an app called MLRawViewer or a newer one called Footage that I can turn the MLV files directly into ProRes files as C-Log, sLog, Log C, etc. I highly doubt they are the exact curves but Log to Rec709 LUTS work well with them. It's a fairly simple process but it is time consuming. There are other processes that make ML even faster (MLVFS) With BlackMagic you can just ingest, edit, color, title, deliver using the native CDNGs. With the C200, it seems like it will be possible to edit natively but either way it will be a lot simpler with the proxy workflow. The true power of raw shooting is that you don't need to fix anything in advance and you can raw develop, edit and color at the same time in a liquid, flexible and creative post workflow. At least in Resolve you can. Proxies shouldn't be necessary. I don't see how a proxy workflow can be simpler -- you add a step (possibly two steps, if you round trip). mercer 1 Quote Link to comment Share on other sites More sharing options...
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