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Sony F5/F55 RAW with Premiere & Speedgrade Workflow
What’s the optimal workflow at this point for Sony Raw recorded on the R5 using Adobe Premiere CC (current version) editing and direct-link to Adobe Speedgrade CC for color grading?
The objective is the very highest quality and full information and control in color grading.
Premiere permits setting Sony RAW “source settings” at either Slog2 or Rec709. I assume this pertains to the debayering. Is there no way to debayer without applying the slog2 curve? (but rather maintining the liner qualities of 16-bit Sony raw for maximum flexibility in the grade and not compressing the brighter part of the curve?)
The Premiere files are taken directly to Speedgrade so would want maximum data, dynamic range and color range in Premiere for the roundtrip to Speedgrade.
It seems Premiere CC has a fill RAW debater and control panel for Red RAW, but Sony Raw has only a choice between slog2 and Rec709. There must be more control for Sony RAW if it’s going to be used for grading via Speedgrade direct link, no?
Any advice on the workflow using Premiere and Speedgradew CC would be much appreciated.
Thanks!
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4 Replies
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My inclination would be to conform the film in Sony Content Browser (Sony’s content/viewing app, if it’s capable of such things – I rarely use it) and export 16-bit tiff or OpenEXR from there for grading; you can’t use the more common DPX as that’s limited to 10-bit.
Beyond that you’re stuck with the 10/12bit interpretation Premiere’s internal engine will give it with slog2.
Resolve will give you the linear curve.
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So Adobe’s claim to work natively with Sony RAW in Premiere is not true?
What’s the point of direct link with Speedgrade if you can’t use the RAW for grading? The entire point of shooting RAW is for grading.
Can you at least re-link to the RAW in Speedgrade?
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[August Bradley] “So Adobe’s claim to work natively with Sony RAW in Premiere is not true?”
It can, but the only thing it can control currently is the curve setting – additional curves and debayering quality isn’t yet an option. I would expect broader support in the coming months with the next major update.
[August Bradley] “What’s the point of direct link with Speedgrade if you can’t use the RAW for grading? The entire point of shooting RAW is for grading.”
Direct link uses Premiere’s codec engine so you’re as limited as you are in Premiere. Speedgrade doesn’t, as far as I know but I’m behind an update, directly support Sony RAW so you can’t do conforms outside of direct linking. Weird but true.
[August Bradley] “Can you at least re-link to the RAW in Speedgrade?”
You’re using the RAW file currently, just with no access to the linear curve. The only > 10-bit format alternatives are TIFF and OpenEXR. At that point you might as well conform the video and finish in Resolve for the time being.
——————–
Angelo LorenzoNeed to encode ProRes on your Windows PC?
Introducing ProRes Helper, an awesome little app that makes it possible
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks
Can your post production question fit in a tweet? Follow me on Twitter -
Thanks Angelo, extremely helpful!
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