-
FCPX & Blackmagic Raw workflows?
-
Okay, if you don’t get any useful tips from anyone here, you could try contacting Fabián Aguirre at https://www.theunderstory.co/contact. He mentioned on the Blackmagic Design forum that he does this round-trip workflow, shooting in BRAW on the Ursa Mini and Pocket 4K, exporting proxies from Resolve and editing in Final Cut, and then he goes back to Resolve for color correction. He said (in his post) that it was difficult, but like you he prefers editing in Final Cut. He might be willing to provide some tips.
-
You are correct, I got the new Video Assist mixed up with the Atomos recorders.
However it seems Atomos could make a ProRes RAW recorder for Blackmagic cameras. Blackmagic gives away a free open BRAW SDK for Mac OS, Windows and Linux. The purpose is facilitate decoding of BRAW format, including unique information about the camera’s image sensor. That was all stated in the press release: https://www.blackmagicdesign.com/media/release/20180914-01
Atomos can already encode ProRes RAW, and the BRAW SDK would seem to give the ability to decode BRAW, including access to low-level sensor data.
However Jeff’s current situation is what to do now. I guess you could use Resolve to batch convert BRAW to ProRes (maybe after “first light” correction). You’d obviously lose something but Arri cameras sometimes record ProRes.
-
“However it seems Atomos could make a ProRes RAW recorder for Blackmagic cameras.”
They could, but they almost certainly won’t. Atomos and Blackmagic Design have an anagonistic relationship. If you look at the list of compatible cameras that Atomos posts for its monitor/recorders, for example, you won’t find any BMD cameras listed even though they’re compatible. There is bad blood between them; I can’t remember the details but they weren’t pretty.
-
Do you have matching tc for video and audio or are you syncing by waveform?
-
Sadly, synching based on waveform and the camera scratch audio isn’t the best. Even an app like Pluraleyes has had issues with some of it. Resolve has a lot of good features but a reliable waveform sync isn’t one of them.
—-
Jeff Kirkland | Video Producer & Cinematographer
Hobart, Tasmania | Twitter: @jeffkirkland -
[Brad Hurley] “Apple has a vested interest in promoting ProRes RAW so they might not go for it”
The meme that won’t die until it’s actually out, I guess.
Are you suggesting that B”RAW” and ProRes RAW are competition or that somehow Apple actually thinks that it is? ????
[Craig Seeman] “From what I’ve heard the hold up is on Blackmagic’s side, not Apple’s.”
Of course it is. Apple’s QA is exponentially tighter than that of Adobe’s et al’s. Once BMD get a stable and (unlike the PPro plugin) bug-free version of the codec to Apple it’s sure to be included. Why shouldn’t they?
Of course B”RAW” isn’t even RAW to begin with, but I’m guessing you’re already aware of that.
[Jeff Kirkland] “My understanding is that Apple removed the ability for FCPX to run third party codec plugins a few versions back”
No, it’s not an FCP specific thing, it’s an OS thing. Meant to keep any and anyone just making (and installing) plugins willy-nilly. All of which pose a potential security and stability risk if not monitored, whather we think it’s a PITA or not. It’s actually a good thing in the end.
[Joe Marler] “Atomos makes some recorders that record/encode BRAW from a few non-BM cameras, e.g, C300 II. “
Most certainly not.
[Joe Marler] “I wonder if Atomos will make recorders that record ProRes RAW from a Blackmagic camera?”
That’s not AtomOS’ decision. It’s not like they can just pop an Inferno etc. onto any given RAW output port and capture away. But either way, I’d say the answer is clearly “nope“.
[Joe Marler] “Blackmagic gives away a free open BRAW SDK for Mac OS, Windows and Linux.”
I’d say you’re clearly and gravely conflating PLAYBACK and RECORDING. And as much as so many like to say so, the BMD SDK is anything but OPEN in the sense that everyone seems to think.
– RK
____________________________________________________
Deutsch? Hier gibt es ein umfassendes FCP X Training für dich!
Youtube | Facebook -
[Jeff Kirkland] “Sadly, synching based on waveform and the camera scratch audio isn’t the best.”
I see. I would keep the audio and video separate (don’t make new media with embedded audio).
Then I would relink to raw video at or near the end in Resolve.
Do you know why certain clips don’t relink? Is there something about the files Resolve doesn’t like?
-
I do a quick grade of all my footage including BRAW in Resolve, export as ProRes files, then edit in FCPX from that. Works great.
There’s one difference between BRAW footage and the rest, but otherwise no change to my normal workflow: For everything else, I import the original files into FCPX, then relink to the graded ProRes files when they’re ready (making sure they’re identical enough to relink is a hassle, but this way I’ve got an easily reproducible reference established). For BRAW, I just use the already-graded ProRes file.
-
[Russell Harmon] “I do a quick grade of all my footage including BRAW in Resolve, export as ProRes files, then edit in FCPX from that. Works great.”
I’ve done that in the past but, as the grade is going to be in Resolve anyway, I was trying to not lose my connection to the raw files or the synced audio.
Still not sure why I’m losing the synced audio when Resolve reconnects to the braw files. I’m putting it down to a bug in the current version and I’m chatting with Blackmagic support to see if they can help figure it out.
—-
Jeff Kirkland | Video Producer & Cinematographer
Hobart, Tasmania | Twitter: @jeffkirkland -
[Jeff Kirkland] “Still not sure why I’m losing the synced audio when Resolve reconnects to the braw files. “
Yes, this is the crux of the issue.
At what point are you losing access to the audio?
Reply to this Discussion! Login or Sign Up