Show Posts

This section allows you to view all posts made by this member. Note that you can only see posts made in areas you currently have access to.


Messages - r-man

Pages: [1]
1
I've been thinking about this workflow and the Raw workflow overall - in my opinion, using progs as ACR and Lightroom etc in the very start of editing and grading may push you into some limits

Why so ? I think that sometimes it's hard to grade shots fine and adequate, when you can't see the whole image of your sequence ( i mean all your shots going one after one, when you see complete result ), as they might look comlpletely different. Especially this way of grading is awkward when you got the shots with different latitude of highlights and shadows

For example we have a pan shot - in first part we push highs down and black to up, but when pan is over and we have brighter darks, than in prev.part we might get a crap.  Something like this.

So I think that more flexible way for grading, especially secondary grading is to import from Pr to Sg with native dpx conversion.

But I may be wrong, as I'm still exploring different way to work with raw, so if anyone could fix me- you'r welcome!)

The only thing I surely know is that Dynamic Link must be essential in this process, until we get a native dng import to Pr CC

2
Could anyone clarify to me couple of things

For example I have 1880x800 source files, shot on mk2, so I have 14 bit of depth in thats RAWs, am I right?
So, according to this workflow ( btw thx for this ) we're importing
converted DNG sequences into AE.

Question is in the following - If I set the comp's depth for 16 bpc, but sources are 14 bit, how these parameters gonna affect sources while roundtrippin' Ae/Pr with Dynamic Link and all that online updates between sequences of Ae/Pr ?

Pages: [1]