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Hi!

ProRes XQ files, as we know, look different when opened in PP than they did when exported from AE (darker). I know it has something to do with it being a linear format and not rec709 (right?), but I haven't really looked into it or understood it fully. Until now, I've just used a simple curve adjustment to get my shots looking more or less as they did in AE, as I felt the results were still better than with regular 4444.

But there's probably a more scientific way of going about this? If anyone could share the secret and/or help me understand why the files behave as they do it would be super-appreciated 

Thanks for the quick reply! But I haven't really used any non-GUI software before, so I would have to look into that first....

Hi!

I'm having a problem with MLVFS where footage shot with a shutter speed of 1/100 (at night, with tungsten lighting) shows up in ACR as 1/110. This seems to cause flicker in the shot, weirdly enough. One should think as long as the footage was actually shot at 1/100, the metadata shouldn't matter.... But that does not seem to be the case, because when I conform the shots through MlRawViewer (which reads the shutter speed correctly), they come out flicker free.

Any ideas?

PS: I'm not doing highlight-adjustments or anything like that in ACR. Nothing that could cause flicker.

This script is one function short of being perfect: an "Apply presets" tab, like you get with Batch Processor.

If only it had that, it could take care of all the processes one needs to go through in AE in order to end up with Cinelog-C ProRes-files w/ synced audio.

Anyway, thought I'd share my workflow for going from MLVs to ProRes 4444 XQs in Cinelog-C color space, in case anyone out there might be trying to figure out the same thing I was trying to figure out up until now (this is a Mac + MLVFS + AE-workflow, for non-Davinci-users):

>Mount folder containing MLVs with MLVFS
>In AE, use Smart Import 2 to import DNGs + WAVs and make sequences (but uncheck output modules)
>Adjust WB/exposure in ACR for each shot + set camera profile to Cinelog V3.0 (I've set this to be my standard for DNGs)
>Select all sequences created by Smart Import 2 (or the ones you wish to export, anyway), run Batch Processor
>Under the "Apply preset"-tab in Batch Processor, select a preset (that you have to make yourself, obviously) for going from Cinelog V3.0 to Cinelog-C using OpenColorIO
>Select custom output module (that you once again have to have created yourself) for ProRes 4444 XQ (that you can "steal" from a free FCP-trial and use with AE by following the steps that @RedDeerCity outlines in this tut: https://www.youtube.com/watch?v=ZqXxg3lq3mY)
>Enjoy super-HQ, easy editible ProRes 4444 XQ-files (that haven't lost a single bit) in delicious Cinelog-C colorspace

Pretty standard, I know, but for a noob it took quite a while to puzzle all the pieces together, so I thought someone out there might enjoy finding a simple, straight-forward recipe.

Hi all! Is this the go-to-script for someone looking to for a way to batch process DNGs and ending up with Cinelog-C ProRes-files, or has something new come up since december? How would I add the Cinelog V3.0 -> Cinelog-C conversion into the mix?

@Andy600 - Thank you, that's what I thought! Will buy soon!

Why are people using BMDFilm 4k as an input profile? Or have I misunderstood something?

When using ACR, would I not want to go from Cinelog V3.0 to Cinelog-C?

Seems I'll be selling my Lilliput then, and getting the Aputure.

Hi all. I have a Lilliput 664 (O/P), but currently, I can't get the ML Overlays to work, only the Canon ones. Any tips?

(In other words - I wouldn't recommend this one currently)

Thanks! I have Lexars UDMA 7-reader, so I feel confident 

Hi!

I have a USB 3.0 card reader, but my laptop only supports USB 2.0. Will I risk ruining my KB 1000x 64gb cards with this combo?

I'm guessing the answer is yes, but seeing as I haven't fully understood why using a USB 2.0 card reader could damage the cards in the first place, I'm not 100% sure... But I'd like to be!

- Anders