RAWMAGIC LITE TUTORIAL SOFTWARE
I mean, a raw file is uncomp, but u’re supposed to have the opportunity to change all the values like color temp, sensitivity, gamma an so…edit a prores file whit a given gamma dosen’t limitate your choice? Why don’t try to ingest the dng footage into a software who can handle it natively (maybe such davinci resolve lite) and do an export only after you’ve done your choice? If this is not possible maybe the theory of export a prores whit a log curve (milky and unsaturated look) helps you to preserve the max data amount. I normally work whit high end cameras such alexa and red, and in my opinion prores444 is the right choice to preserve the maximum amount of information.īut it looks like you can’t take take all the benefits of a raw file this way. Let me know if you have any suggestions for improvements!Įverything seems to work fine in your workflow. This is the workflow I am currently using. I might also create ProRes proxy copies of all the shots to do my initial edit, and the relink to the ProRes4444 files when I’m done to create the final, edited master of the project.
![rawmagic lite tutorial rawmagic lite tutorial](https://www.redsharknews.com/hs-fs/hubfs/Imported_Blog_Media/3a35607fc7b00bed625a5b8209ae179d-1.jpg)
RAWMAGIC LITE TUTORIAL PRO
There are lots of options for post-production workflow, but this is mine given my current resources (a 2011 macbook pro and the Adobe CS6 suite): I wasn’t able to get continuous recording on the fly at 1920×1080 (I hadn’t had time to test the nightly build and prep before the protest started), so I dropped resolution to something like 1780 in order to record for over a minute or two at a time. The rest was shot in “crop mode” to increase resolution as well as effectively zoom my 50mm lens from 80mm effective to 200mm effective. The first shot was in regular mode at 1568×882.
RAWMAGIC LITE TUTORIAL ISO
50mm/f1.8 lens, ISO 3200, aperture set to 2.4 or 2.8 to preserve a bit of depth of field that would be lost at 1.8. The first video above was shot on the 50D in raw rec mode. Ok, so here are the details of the production. In addition, one benefit of shooting raw at this event was that I was stuck in the middle/back of the crowd, so the “crop factor” of shooting in crop mode, which effectively turned my 50mm lens into a 200mm, was of great use, giving me a much more telephoto image in order to see the organizers at the front of the crowd (for example). And I have to say I’m super impressed at the quality of the footage shot at night with no additional lighting at such a high ISO as 3200.
![rawmagic lite tutorial rawmagic lite tutorial](http://4.bp.blogspot.com/_TOHTDsQ7iR4/S8aa19Q82DI/AAAAAAAABo4/z5-BGT_OASA/s1600/sbpm.jpg)
A lot of the frame just goes to solid black in the H.264 footage, while so much more detail is preserved in the raw footage. The difference in dynamic range and low-light sensitivity is remarkable in my opinion.
![rawmagic lite tutorial rawmagic lite tutorial](https://content.instructables.com/ORIG/F1T/JY49/IQEFF9OF/F1TJY49IQEFF9OF.jpg)
Here’s footage shot the same night in H.264: It’s definitely more labor intensive to shoot raw, but the difference is worth it I think. I recently shot this raw footage using my 50D, and I thought it might be helpful to walk folks through the post-production workflow process.