Lossless Blackmagic Cinema DNG 2.5k workflow for Adobe Premiere CS5.5 / CS6 with smooth playback and editing

DOWNLOAD 2.5K BLACKMAGIC H.264 FOOTAGE HERE

(Important: on the Vimeo page for this clip, click download to get the 2.5K 80Mbit clip. Don’t bother watching it full screen from the stream as it is a pale imitation of the full 2.5k file)

I’ve been experimenting today with Blackmagic Cinema Camera workflows.

I use Adobe Premiere as my main NLE. I am not an FX guy so rarely use After Effects. But it comes in very handy here.

Premiere cannot yet edit the CinemaDNG files natively, performance is very limited, it interprets the footage at 1fps, requiring you to fix this for every clip and image quality suffers greatly, possibly because it doesn’t allow you to edit in glorious 12bit.

Here’s the solution that’s working best for me…

Read moreLossless Blackmagic Cinema DNG 2.5k workflow for Adobe Premiere CS5.5 / CS6 with smooth playback and editing

EOSHD grades the Blackmagic camera raw CinemaDNG files

First grade - Blackmagic Cinema Camera CinemaDNG frame

Above: my first go at grading the Blackmagic Cinema Camera raw output

The above frame is scaled to 660 pixels wide for the blog. Click here to view the full 2400 x 1350 frame in your browser and another full frame here

John Brawley and Blackmagic Design today released the first raw DNG files from the camera.

Here’s my take on how the raw camera stands up.

Read moreEOSHD grades the Blackmagic camera raw CinemaDNG files

Mac AVCHD gamma issues – the fix

FS100 with SLRmagic Hyperprime

As I recently found with my FS100 Macs really seem to hurt your AVCHD footage from Sony cameras and the Panasonic GH2… But especially the Sony FS100.

It is no wonder these cameras often get a bad reputation for limited dynamic range, crushed shadows and blown highlights – when you are only seeing the middle part of the full 8bit range of luma.

This Rec.709 portion of a 601 space (16-235 instead of the full 0-255 the FS100 shoots in) is incorrectly remapped to 0-255 by Quicktime. Therefore apps that use Quicktime at their core like Premiere, trip up. This makes a huge difference to the image. When fixed, you recover over 10% of your dynamic range, highlight and shadow detail, along with a much smoother roll off to whites and blacks.

Read moreMac AVCHD gamma issues – the fix

MacBook Pro editors rejoice – new Premiere Pro CS6 supports OpenCL for renderless timeline not just NVidia CUDA!

Premiere CS6

One of the biggest changes to Premiere Pro in the new version is a renderless timeline which supports OpenCL capable graphics cards. Previously Adobe only supported NVidia’s CUDA standard for GPU acceleration. Mac users with ATI cards missed out on the huge performance gains from a GPU accelerated video editing package.

Previously even MacBook Pro users with high end (for the time) CUDA capable NVidia graphics found themselves without quite enough video RAM and in need of a hack to get it to work.

That has all changed with CS6.

Read moreMacBook Pro editors rejoice – new Premiere Pro CS6 supports OpenCL for renderless timeline not just NVidia CUDA!

Can’t open 5D Mark III raw photos? Hate bundled software? Try this

Lightroom 4.1 RC

It is a pretty disgraceful state of affairs around raw support and new camera releases at the moment and heads need banging together in my opinion. However help is at hand from Adobe who have released the pre-release version of the new Lightroom 4.1 – and it is free.

Adobe Lightroom 4.1 Release Candidate (RC) can be downloaded at Adobe Labs here

Read moreCan’t open 5D Mark III raw photos? Hate bundled software? Try this

Premiere Pro sales up 45% due to FCPX exodus

Adobe Premiere Pro

Above: the old Premiere logo. Adobe’s prancing horse to Apple’s donkey.

Final Cut Pro X has been sitting on my machine alongside Premiere Pro CS5.5 and Final Cut Pro 7 since its release a few months ago, and after the initial week of getting to know it I haven’t used it once.

It’s a dead duck.

Read morePremiere Pro sales up 45% due to FCPX exodus