Painter - 5D mkiii RAW

[andresharambour]

Hey guys,

I just wanted to share a little video I made of my mom who is a painter. Completely shot on MLV Raw with the 5D mkiii.

I don't know if the video looks the way it's supposed to with the compression from Vimeo and the settings I used to export it. Let me know your thoughts about this please.

Thanks!

[mandaodex]

Very nice!

[shobsvfx]

Nice Shots. I just bought the 5D Mark III and installed ML. I would like to know Which CF Card you use to shoot this. Any recommendation?

[coolerinc]

Nice grading and shots!!!

[johnwangphoto]

Beautiful film and I love it! Could you share with some shooting details, like what resolution, frame rate, post production, etc? Thanks!

[andresharambour]

Hey guys,

Thanks a lot for you comments, I really appreciate them!

Some details:

- All shot in MLV with sound (which I didn't end up using), 1920x818 (I'll check the exact setting on the menu when I get home) @24fps.

- I used 2 Lexar 64gb 1000x CF cards, which I filled up completely. I think the total size of the project was around 180GB of MLV files.

- If I remember correctly in most shots I used ISO 400 and 800.

- I converted all clips to DNGs using RAW Mystic for mac.

- DNGs were opened with Davinci Resolve 11 lite and using Cinelog LUTs I balanced the white balance the best I could using the RAW features in Resolve, and then exported all clips to prores 4444 full quality with washed up colors and contrast (Log-C imitation by Cinelog). I also exported the same clips to low quality prores 422 to use as proxies in premiere.

- I then edited everything in premiere and exported an FLV which I then opened in resolve to replace all proxies by the full res 4444 clips and color corrected everything to the final output.

- I'm pretty new at all this video editing, so de color correction process was not a clean process at all, I went back and forth a lot, using LUTs, removing them, and so on.

Does this help? Any other questions, just ask and I'll do my best to explain


Andrés

[brtnsnwbrd]

Great video Andre!

I only lost you at the part that you say: washed up colors and contrast (log-c imitation by cinelog) ... no idea what you said there. hahahah.
Could you describe, step by step, what you did to your raw footage? From the part that you converted the files to DNG's and imported them to Resolve?
Thanks in advance!

[andresharambour]

Great video Andre!

I only lost you at the part that you say: washed up colors and contrast (log-c imitation by cinelog) ... no idea what you said there. hahahah.
Could you describe, step by step, what you did to your raw footage? From the part that you converted the files to DNG's and imported them to Resolve?
Thanks in advance!

Sure, no problem.

I converted my MLV footage to DNGs using Raw Mystic. I then get each clip I shot in a separate folder with each frame as a DNG.

Next I open Resolve and in the preferences I use as an input LUT a Cinelog LUT called "BMD film 4k to Cinelog-C" if I remember correctly (not with the computer right now). I then add all my clips (which are the folders I previously mentioned) to the media pool. Resolve recognizes those folders as clips right away. I then add all clips to the timeline and correct white balance and color tint in the raw options of the color panel. As I'm using the Cinelog LUT as input, all clips in the timeline already have that "washed up" look I mentioned before, which is a log colorspace that makes it a lot easier to edit afterwards.

I didn't get in all the details of the preference panel in resolve because you can get all those details when you get the cinelog LUTs, but if I get time soon I can make a tutorial with images explaining each step.

Moving on to the process... When I have all clips balanced in color with the log look applied, I then export them individually to prores 4444 and prores 422 proxies.

I do all my editing in premiere with the proxies, which is really fast, not just because the proxies are smaller in size, but also the log colorspace makes them even smaller.

Once I'm done in premiere I export an FLV file and open it in Resolve, where I link all the editing to the prores 4444 files to color correct the whole edit.

What I've done the last few times is color correct most of the edit and then export a single clip, which I use to replace the original edit in premiere and adjust titles and a few things that I may want to change. I may try a different approach to this next time and maybe export single clips from resolve and replace the proxies in premiere, and that could let me work with after effects linked to premiere or do some other effects to the clips. That part I have to improve in the process.

To give you an example of that "washed up" look, I'm embedding a video I made recently comparing a few Koji LUTs applied to a clip that already had the cinelog LUT applied.

Please let me know if I'm no clear of if you'd like more detail in any part of the process.


Andres

[brtnsnwbrd]

Andre,

thanks for the great response. Although im a newbie to all this i try to find out a workflow which fullfill my needs. The workflow you describe i came across several times. Like you, exporting your washed out footage to prores 4444 and 422 for quicker editting. I really dont understand that part. How can you tell resolve after you made your edit in premiere (for example) with the 422 files that it has to swap them with the 4444 files?
Do you have a link to a tutorial for example? Or did you found out yourself?
Thanks!

[andresharambour]

Andre,

thanks for the great response. Although im a newbie to all this i try to find out a workflow which fullfill my needs. The workflow you describe i came across several times. Like you, exporting your washed out footage to prores 4444 and 422 for quicker editting. I really dont understand that part. How can you tell resolve after you made your edit in premiere (for example) with the 422 files that it has to swap them with the 4444 files?
Do you have a link to a tutorial for example? Or did you found out yourself?
Thanks!

A few months ago I paid for a 6 months subscription to colorgradingcentral.com and was totally worth it. There you get in depth video tutorials to learn to use Resolve. Those were really helpful! I never paid for something like that before, but I don't regret it one bit. That's also where I got the "Cuban Look" LUT which I used in the video I embedded in my previous response.

I also watched many other tutorials on working with resolve and RAW footage and that's how I learned all of this.


About relinking files. When you open the FLV in Resolve, you have two options. One is to tell resolve to automatically link the files to the FLV file timeline, which would bring the proxies again, which we don't want. And there's the other option, where you tell resolve (there's a box you can check and uncheck) to not link them automatically, but for that you need to have your prores 4444 files in the media pool before you open the FLV file. Keep in mind that the proxies and the full res files need to have the same names for this to work. I usually keep a folder named "proxies" and another one named "prores 4444" to keep organized.

That's pretty much it. I used to do my color correction with Speedgrade CS6, but switched to Resolve because I found it much more intuitive and I had better results a lot faster.

I hope this helps!

[DanHaag]

A few months ago I paid for a 6 months subscription to colorgradingcentral.com and was totally worth it.

Second that! Did the same thing and it was totally worth the money. Helped me learn Resolve in no time, without any prior experience with the software.
It's also a great way to learn understand color correction as well as grading in general and the best thing is Denver Riddle (who runs CGC) helps you along
if you have any additional questions. Wrote him a couple of times and he always responded within the same day.

There's also an option to download all his tutorials so you can watch them even after your subscription has expired. He keeps adding and updating new videos for active members, though.
Gotta mention that he's not experienced with Magic Lantern raw. So he can help and his tutorials are aimed at general workflows for raw/log shooting cameras but wasn't always able to
provide answers specific to the nature of ML raw footage. On the other hand his tutorials helped me figuring out most of this stuff myself. In any event, highly recommended!