Premiere pro 8.0 native support?

[arturochu]

has anyone tested if the new premiere pro 8.0 has some sort of ML raw native support?

[Rewind]

No it does not. Should it?

[jrumans]

I just imported 16bit CinemaDNGs from RawMagic and there is no pink color cast! 

Edit: However, it is flat and doesn't update when changes are made in ACR.

[reddeercity]

Just check out the Premiere Pro CC(2014), and I have to say a very Big Improvement
You no longer need to Use 12bit Cdng's as now 16bit Cdng's are now supported without any issue, I imported 
Cdng's from Raw2Cdng v1.4.9 from chmee at 16bit as these are the only ones that work in FCPX. No Pink hi-light or green cast.
There is some Raw like controls Called (File Source Settings) Temp, Tint, Exposure, right click on the imported Cdng File and these setting come up. 
Audio is synced automatically, It at a point where I think a will try a serious project with it, as I'm a FCPX user this is looking Very good for Raw only project.
As you can't beat FCPX on ProRes (.mov) base project !
This is impressing me a lot, I think adobe is starting to get it right finally .

Edit: No MLV v2.0 or Raw v1.0 support yet.

[jrumans]

Just check out the Premiere Pro CC(2014), and I have to say a very Big Improvement
You no longer need to Use 12bit Cdng's as now 16bit Cdng's are now supported without any issue, I imported 
Cdng's from Raw2Cdng v1.4.9 from chmee at 16bit as these are the only ones that work in FCPX. No Pink hi-light or green cast.
There is some Raw like controls Called (File Source Settings) Temp, Tint, Exposure, right click on the imported Cdng File and these setting come up. 
Audio is synced automatically, It at a point where I think a will try a serious project with it, as I'm a FCPX user this is looking Very good for Raw only project.
As you can't beat FCPX on ProRes (.mov) base project !
This is impressing me a lot, I think adobe is starting to get it right finally .

Thanks for the heads up on the "File Source Settings" that is pretty cool.  However, I still would like to edit first in Camera Raw or Lightroom, it doesn't appear to be reflecting these changes (tried replace footage, editing original, ect)

[Rewind]

You no longer need to Use 12bit Cdng's as now 16bit Cdng's are now supported without any issue

Not sure, what are you talking about, because 16 bit cdngs are imported in CC 2014 exactly the same way they did in CC 7.2.
I mean they used to import perfectly fine a long time ago.

[jrumans]

Not sure, what are you talking about, because 16 bit cdngs are imported in CC 2014 exactly the same way they did in CC 7.2.
I mean they used to import perfectly fine a long time ago.

I get a pink color cast in CC 7.2

[reddeercity]

That's right, Pink cast if you use 16bit before these update. Only 12bit Cdngs would before with out problems .

[Rewind]

That's strange, because i have both 7.2.2 and 8.0 versions installed, and 16 bit cdngs (made with raw2cdng 1.4.9.7) looks exactly the same in both versions.

[arturochu]

It's a shame there's no mlv native support but at least we have better 16 bit cdng support and handling, i hope at least resolve 11 comes with mlv native support.

[martin_a]

I'm using RawMagic to convert my MLV files to cDNG but i can't put these files into Premiere Pro, 7.2 or 8.0 dont work... How are you doing this ?

By the way, look what i just found in the Speedgrade CC 2014 release notes :

Canon 5D mk III CinemaDNG sample from 14-bit RAW : Added support for cDNG footage from Canon 5D MarkIII with Magic Lantern

Link : http://blogs.adobe.com/movingcolors/2014/06/18/2014-release-of-adobe-speedgrade-cc-now-available/#more-893

I'm going to give it a try

[DFM]

martin_a is correct, in Premiere Pro CC 2014 the intended workflow for all 'raw' footage is to import CinemaDNG then grade in Speedgrade - not in ACR. This is the only way to deliver realtime hardware-accelerated playback - the rendering engines in Sg and Pr are Mercury-enabled whereas the ACR "develop" module route is an old-school frame server. Because you can now pass a project back and forth between Sg and Pr it doesn't matter which one you start in.

If you really want to stay with ACR then pipe your footage through an After Effects comp - but of course you'll lose MPE playback.

[Malex]

Wow all this sound good! I'm going to update all this and play with it! [emoji106]

[jrumans]

martin_a is correct, in Premiere Pro CC 2014 the intended workflow for all 'raw' footage is to import CinemaDNG then grade in Speedgrade - not in ACR. This is the only way to deliver realtime hardware-accelerated playback - the rendering engines in Sg and Pr are Mercury-enabled whereas the ACR "develop" module route is an old-school frame server. Because you can now pass a project back and forth between Sg and Pr it doesn't matter which one you start in.

If you really want to stay with ACR then pipe your footage through an After Effects comp - but of course you'll lose MPE playback.

Wow, I can't wait to try the SpeedGrade workflow.  I am crossing my fingers that it has highlight / shadow recovery comparable to ACR!

[martin_a]

I just did a few tests with Speedgrade CC 2014 and i think there is still a decoding problem in it

Here is what i get when i put my DNGs in After Effects :

Before any correction :



After correction :



And here is what i get in Speedgrade :

Before any correction :



After correction :



Any idea why ? The white balance is wrong and i can't correct it... The highlights seems to be wrong too...

Any other tests ?

[chmee]

Martin_a Please use first an according correction matrix..

[martin_a]

How is it possible in Speedgrade ?

[Midphase]

It's a shame there's no mlv native support but at least we have better 16 bit cdng support and handling, i hope at least resolve 11 comes with mlv native support.

It would appear that 16bit CDNG's in Premiere 8 still suffer from pink highlights (not an overall pink cast but any overexposed highlights will go pink).

Also, I doubt that MLV will be natively supported by Resolve 11, maybe in the future, but it will require some conversation to be opened between Blackmagic and ML.

[jrumans]

Will anything ever beat Adobe Camera Raw?

[Thomas Worth]

Based on my testing, the new update still causes blown highlights to come out pink. You can test this by importing an overexposed CinemaDNG sequence and underexposing the image using the "Source Settings" exposure control. As far as I can tell, this only occurs with overexposed footage.

Oh well.

[reddeercity]

I have been checking in the pink hi-Lights that every one is reporting and I don't have this problem at all,
just did a test , these are my variables: 5D2-MLV-->MLV_Browse_Sharp-->Raw+audio v1.0-->raw2cdngv1.4.9-->16bit Cdng ,**Note** this is the converter before chmee change the 16bit color matrix to work in Premiere Pro CC 7.xx . The Version 1.5.0 raw2cdng product pink hi-light in FCPX and in Premiere Pro CC, so I have always used raw2cdng version 1.4.9, that could explain a lot.
Later on today I will capture the screen On my PC WorkStation and post a video to show this. 

But what really Pisses my Off is there No external Monitoring for grading or simple to view your edit on a color corrected Monitor .
Connected my Blackmagic Ultra Studio SDI USB 3.0 , on the HDMI side and it's not supported  but in A.E. It Is ! make not sense .
Just about every NLE dose that I have came a cross, I have no desire to use Speed Grade , and unless you have a nVidia Quadro SDI card you card not
externally Monitor. So it seem we all are waiting for Resolve 11, as it dose not have these limitations imposed on it like adobe. 

[hmcindie]

But what really Pisses my Off is there No external Monitoring for grading or simple to view your edit on a color corrected Monitor .
Connected my Blackmagic Ultra Studio SDI USB 3.0 , on the HDMI side and it's not supported  but in A.E. It Is ! make not sense .
Just about every NLE dose that I have came a cross, I have no desire to use Speed Grade , and unless you have a nVidia Quadro SDI card you card not
externally Monitor. So it seem we all are waiting for Resolve 11, as it dose not have these limitations imposed on it like adobe.

Though Resolve CANNOT output to a second monitor, only through Blackmagic hardware, Speedgrade CAN output to a second monitor.

[ChadMuffin]

There are a few things that chmee has in his raw2cdng thread that help fix some issues brought up in this thread. While I recommend checking out his thread because there are work around for green/magenta issues, here is just some points to be noted. Please keep in mind that I am not expert. I have the 5D3, I need to have the black level fix enabled in the MLV module to not have the green tint. Then, I bring it into the raw2cdng 1.5 beta 6 (This is the current version. Links are on the raw2cdng thread. You have to click on the new version of his website inside the link he provided). I open the program, drag and drop the .MLVs, I use 12-bit and check fix pink highlights. It converts it and then you can open them in Premiere, Speedgrade and Resolve with no green or pink frames. I have had the audio synced, some have reports of it not working for them. I do not know why not for them. I use Premiere and Speedgrade with my editing and grading. I would not recommend only using ACR for your color grading. If you use some setting such as the contrast or clarity settings, you will have flickering if you push those settings to the extreme. ACR only looks at individual frames and not a stream of frames which cause these flickers. I would recommend using ACR to create a flat profile and change white balance only. Noise reduction can be use but, you may not get the best performance from it because it looks at individual frames. But, it is a good free solution. If you want to, export that footage to your preferred codec and work with it in your editing software. I recommend ProRes. Depending on your workflow, you may be interested in downloading Cinelog or VisonLOG as an ACR preset for a flat profile, change your white balance and export in ProRes to edit and use LUTS in Speedgrade or Resolve or just edit with those cdng files natively in Premiere or other software. Using the cdng will give you the best quality. Keep in mind, this is only an option. There are plenty of right ways, many more wrong. Resolve can change your white balance like ACR, Speedgrade is a bit more difficult because you have to change the RGB channel multipliers. Things still in the works with raw2cndg is the vertical banding which effects the 5D3. Looks like that should be implemented soon. There is plenty of information all over this website, all this information I have brought up is already in a thread somewhere here. Hopefully that helps answer some questions!

[sergiocamara93]

My copy of PP 8.0 is doing weird stuff with CDNG files. Some frames randomly flicker and seem to be overexposed (not happening in PP 7.0), there's still pink cast on the highlights (disappears with chmee fix), the files still lag while editing (also when hitting playback sometimes), though image quality and processing seem a tad better (it was performance what I was expecting to get with this update).

I think I'm staying in CC 2013 for now. The flickering issue makes it unusable for me, maybe an update will help with this issue in the (near) future. I crossing my fingers for Resolve 11 (performance improvement, not MLV support).

PD: I tested several CDNG files from raw2cdng and it appears that the old files without 'partymode' are now properly displayed in PP and SpeedGrade. Maybe that's what Adobe was referring to.

[Thomas Worth]

there's still pink cast on the highlights (disappears with chmee fix)

DNGs from RAWMagic work fine in both the old and new Premiere until you adjust the exposure using the new Lumetri controls. Once you drop the exposure, the pink highlights show up. Can you try this and see if you get the pink highlights? The footage must be overexposed for this to work.