-
Sony Raw 4k to FCP X?
-
I would cut using FCPX.
At any point, send an XML or EDL to Pr and reconnect to the Raw. Send to Ae for key.
Export.
Using Davinci, you’d use Davinci to render pre-framed 1080 movies, not the 4k movie.
For Keylight, I sometimes find leaving the drop down in “intermediate result” works better. I don’t know why.
Also, use the “Replace Method > Source” but that really depends on the type of footage.
-
Ah, that DaVinci method wouldn’t work then. I need 4k files IN AE to fly around with the camera. And as of yet, there is no way to get those. Well, proper ones at least. The XML Xto7 to get my FCP cut to AE is a possibility, but only Premiere can see the RAW. So even if I relink to raw in premiere, AE can not read the Sony RAW.
-
[Bret Williams] “So even if I relink to raw in premiere, AE can not read the Sony RAW”
Oops. That I didn’t know. Apologies.
-
Ok, apparently Resolve lite 10.x isn’t limited to 1080p anymore? I’m converting the files to ProRes LT at 4K UHD. Did I miss some news?
But does seem like the colors are a bit too saturated. Definitely the opposite of flat.
-
Yes, the for pay version basically allows control panels now, and a few other odds and ends, like multiple GPUs/RedRockets.
How did you shoot it? Did you end up using SLog2 or no?
-
I wasn’t there, but the metadata says scene linear. It’s very odd. It seems in the RAW, the reds have been clipped. (Actually the green and blue too, but to less effect. ) Looks the same way in Sony Raw Viewer and Resolve. Here’s a scope screen shot from X comparing the two after the green has been keyed out. One is the 4k 422 LT from resolve on the right, and the other is the AVCHD from the FS700 on left. It’s a person with orange shirt. The orange is kinda posterized and you can see from the scopes that they’re almost exactly the same, except the red has been clipped. The AVCHD has a higher pedestal for some reason. Otherwise the blues and greens are the same.
On both I just threw the default keyed effect to lose the green. No adjustments. The 4k ProRes LT keys pretty awesome. If I can figure out the color issues, I’ll use it to get some closeups on the final product. And better/easier keys!
-
I can’t see much from here, but I’d use the one on the right.
Does Resolve give you any Raw metadata controls to set gamma.etc?
If not, you can set in Raw Viewer and then take to Resolve.
I would also test a ProRes 444 render to see if you get even better results. LT is good, but pretty crunched from RAW.
Jeremy
-
In the Sony app, I’ve played a bit, but wasn’t able to bring back that clipped data from any setting I could find.
The project is a total of 12 shots for the green screen, so I’ll definitely find some setting that works on the RAW.
I don’t really know what I’m doing in Resolve other than some basic corrections and export. I just used it for this because it would read the raw and export to ProRes at 4k. I could use 4444 but I really just need the resolution. But perhaps I should. I could definitely get an xml from X and match up the time codes from the AVCHD to the RAW media. It’d be nice to just relink. It’d be nice to know resolve better too! 🙂 Guess this is how ya learn.
-
[Bret Williams] “In the Sony app, I’ve played a bit, but wasn’t able to bring back that clipped data from any setting I could find.”
There are a multitude of channel selections you can make to try and recover the clipped highlights, as well as adjusting the Color & Tone Curve (or gamma), as well as saturation, lum, ISO… a bunch. It very well could be that the clipping exists only in the metadata.
They are in the “input settings” in the Raw Viewer.
Resolve is used to make dailies a lot. I would suggest looking up a tutorial on how to make dailies with Resolve. This will give you at least a working knowledge of how to get back and forth.
If I find some time, I’ll give it a shot with Resolve 10, it shouldn’t be really hard to relink to the RAW, and should be done almost seamlessly.
-
Ok, in the Sony Raw app, if I switch the color pulldown (in the linear gain settings) to 1.LC_709 I get wonderful results. Brings that chroma down where it looks perfect and peaks around 95%. How do I bake that into my RAW clips, so they open in DaVinci with that setting, so I can export to ProRes?
Reply to this Discussion! Login or Sign Up