@arrinkii - it totally works. I did a shoot the other day with a few 12/16GB takes (ended up recording 20+ min of material) using build from oct 31 or so.
I don't know if it was the most efficient, but my workflow was like this, for what it's worth:
(note: I prepared some of these commands by macos and find/replace in notepad++, then adding/removing R02 etc. as needed. But this can/should be scripted...)
1) create a folder for each base clipname and copy those files to their respective folders.
I forgot if they begin with MVI, but assuming... if we have like MVI-116.RAW, MVI-116.R00, etc. and also MVI-117.RAW, MVI-117.R00 then I'd have two folders: 116 and 117. I then copy all the MVI-116* to 116/ and all the MVI-117* to 117/ and so on
2) run a command for each folder like the following:
copy /b "C:\My Videos\DNG\116\MVI-116.RAW"+"C:\My Videos\DNG\116\MVI-116.R00"+"C:\My Videos\DNG\116\MVI-116.R01" "C:\My Videos\DNG\116\MVI-116-MERGED.RAW"
copy /b "C:\My Videos\DNG\117\MVI-117.RAW"+"C:\My Videos\DNG\117\MVI-117.R00"+"C:\My Videos\DNG\117\MVI-117.R01" "C:\My Videos\DNG\117\MVI-117-MERGED.RAW"
3) run raw2dng for each merged file in each folder, using same prefix
raw2dng MVI-116-MERGED.RAW 116
raw2dng MVI-117-MERGED.RAW 117
4) I deleted the RAW and R00 files here to save space.
5) now each folder (116, 117, etc.) contains exactly one dng sequence and no other files
6) open after effects and import sequences. I did this one at a time clicking on first file in each folder and import as sequence. Make sure project settings are to interpret sequences as 23.976 or whatever you shot at and that project settings are 32-bit
7) grade each DNG using Adobe Camera Raw. Note- you don't need to do this in import. You can always right click on a file and change the ACR settings at any time... I think it's under something like "more info" or "interpret footage" or something. Anyway, it's two clicks away from the library.
bring each sequence into a comp, maybe do some additional grading with other plugins (Magic Bullet, Synthetic Aperture, etc.)
9) on filesystem- create new "GRADED PSD" folder with subfolders to match the dng: "116", "117", etc.
10) Export each comp as PSD sequence with Trillions of colors (I know PNG and TIFF are more open standards, but bottom line is I've found PSD to be the safest for not unexpectedly giving gamma shifts and things like that). This can be made easier by setting up an export preset in AE, then you just need to select it and the output path. This can be done via render queue and as a batch while you go do other things (it will take a while)
11) If it's a small project and you know you don't need the DNG anymore, delete those folders too now to save space (steps 1-8 can be easily/quickly recovered if you save the AE project and have the original RAW/R00 files off the card)
12) Bring PSD sequence into Premiere
13) Render
14) Edit
15) Export directly from Premiere as H.264
The above worked for me at least. There's a little bit of flicker again and I'm really not sure where that's coming from... but the truth is... it actually makes it feel a little more filmic to me, like it's being projected with a real analog projector or something
It's a pleasant flicker to my eye, though I'd like to choose it...
I saw somewhere that it might be due to using ACR... which I really don't understand, why would exposure affect flickering? I'm much more comfortable using AE than Resolve so I really hope that's not it and it was some other mistake on my part...
Unfortunately I can't post the clip online since it was for a neighbor's family video and they only want it to stay for family viewing. But the look is so great, super rich colors and just and overall gorgeous tone. I screwed up a bit of the lighting and was able to recover some blown out highlights too
