Author Topic: New Blackmagic Products  (Read 21410 times)


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Re: New Blackmagic Products
« Reply #25 on: June 03, 2015, 12:14:31 AM »
There was a decent third-party QT DNG wrapper available but it was discontinued for some reason  ::)

Maybe g3gg0 or a1ex could have a look at the .MXF option. Some NLE's 'might' already provide MXF wrapped DNG support if they followed the CDNG standard - but who knows??

re: matching in-camera H.264 to raw - when it comes to H.264 from Canon cameras there is always a non-linear Picture Style or .ICC to contend with that provides the 'look'. I can replicate most of it on raw files but a lot depends on the debayering app. The in-camera 'looks', being non-linear in nature, simply can't be achieved with trivial 3x3 LS color matrices alone (which is all we really have to work with in DNG meta due to most CinemaDNG readers not supporting embedded ICC or camera profiles), so there will always be a lut or .icc required somewhere in the pipeline to control/correct the color.
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Re: New Blackmagic Products
« Reply #26 on: June 03, 2015, 03:48:52 AM »
I came across DNG QT as well while searching for format options. They discontinued it when they dropped fcpx support, IIRC they mainly design MXF tools. The biggest downside to shooting in raw is the need to convert to an intermediate for some programs, imo.

I've done a ton of research into color space, linear/log, Lut's and dcp's, etc. Visionlog is useful for some clips, but isn't too impressive color-wise when applying a log->Rec 709 Lut, even with their own Osirus Lut's. I've gotten decent results importing into AE with ACR and using the Camera Faithful profile, getting the footage to look as natural as possible, and applying a Log Lut, a Kodak or Fuji emulation Lut, and a couple of look Lut's with their respective adjustment layers set as either hue or color blending instead of overlay. And I've found that lowering the primary blue hue slider -20 or so on the faithful profile gives the footage a nice teal tint similar to film.

That workflow helps me to match raw with 60p 720 h264 clips, but I've always wondered if I should even bother with a linear space, seeing as how film is not linear, and that's the look I want to achieve. Haven't delved into OCIO yet or had the chance to try out Cinelog but I can definitely see that you have a near-perfect workflow designed for color management. Now all we need is for our color information to be predictable across all programs. I'm not too hopeful though, even QuickTime manages to screw up gamma and color on their own damn .mov's lol.
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New Blackmagic Products
« Reply #27 on: June 04, 2015, 07:06:32 AM »

You should definitely get yourself delved into OCIO within AE -- it's really neat even without Cinelog but it is recommended to use them together since they work well!

I'm ever so grateful for @Andy600 in encouraging me to get on the OCIO boat!

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