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Stuck with the RAW workflow….. !!!
Hey guys..
I really need some help regarding the 4k edit since this is my first time editing raw. I have shot a film on BM URSA mini 4.6k pro RAW @ 4k, 4:1 compression. I have a confusion between 2 approaches ….
1) Should I use the Round-trip approach of Resolve-PPro-XML-PPro-Resolve?
Now, I need to do lots of effects work in premiere like stabilization, match move, rotoscopy, camera digital zoom/pan and also need to add external elements like Wall clock footage shot on green BG to be inserted in the matchmoved scene of Wall. Now can I get all this stuff back in the Resolve via XML? If it’s possible , what is the best approach?2) Should I just export a high res file to premiere?
Since the Color correction is a not a major requirement I can make do with the LUTs that I have and render the final film in Premiere itself. I’ll use Resolve only to transcode so that Premiere can “read” Raw footage(Tried importing a RAW 4:1 file directly in premiere and it took hell of a time loading it, cancelled in between before it loaded).
In this approach what is the best format to use? I tried DNxHR 444 (Render at source resolution 4k) which gave me a full frame video , but at double the size !! Should I use this format?Your suggestions will help a great deal.
Thanks a ton
Cheers
Nik -
1 Reply
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Well, you could conceivably do your entire edit, color-correction, and finish in Resolve. Simple VFX can work fine. If you had a shot here or there that needed complex effects, you could always export those with a “nominal” correction just to give them a decent working color space, do the effect work, then bring it back into the timeline for the final. It’s typical for me to get a short or TV show or feature that has anywhere from a dozen to a hundred or more VFX shots, but everything else stays in Raw format. Raw playback speeds are largely a function of hardware; you throw enough hardware at it, and you can playback Raw reasonably well in Resolve. I’ve done several 4K/4.6K DNG projects that weren’t too difficult.
Many huge Hollywood films and shows just transcode everything to a lossless format like DPX or EXR, which lends itself to transparent hand-offs to the VFX and color departments without compromise.
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