VisionLOG profile for ACR & Lightroom

[dude]

unless i am in 14 bit the whole time, like importing to a 16 bit ae sequence, and importing this sequence via dynamik link into premiere for editing and cc for example

[rockfallfilms]

unless i am in 14 bit the whole time, like importing to a 16 bit ae sequence, and importing this sequence via dynamik link into premiere for editing and cc for example

If you have AE, then I would export as a Prores 444 or DNXHD .mov file at 12bit. You can then take your LOG files into your editing software and then grade then in Premiere or Resolve etc.

16bit Tiff sequences take up a lot of HDD space.

[dude]

There isn t a dnxhd 12 bit, it only does 10 bit.
prores is mac only.
with the method to import the sequences from ae into pp, you get full colour range and don t have to export any files which will fill up your hdd

[rockfallfilms]

There isn t a dnxhd 12 bit, it only does 10 bit.
prores is mac only.
with the method to import the sequences from ae into pp, you get full colour range and don t have to export any files which will fill up your hdd

If you want to keep the 14bits then you might aswell just keep it as a dng sequence rather than exporting to a 16bit tiff sequence.

A 10 bit LOG DNXHD file will give you lots of flexibility in grading, so unless you plan on really pushing the image around like crazy then you're not going to notice a huge difference between grading 10bit LOG vs a 16 bit tiff sequence. (apart from massive file sizes)

What is it that you are actually asking?

[dude]

i never wanted to export a tiff sequence.
it s just a overall-workflow question to diskuss and see which workflows are the best for different systems.
i think there are 3 ways-
-importing the footage into davinci (cdng or via the nice vision log profile)
-exporting from acr via vision log into a uncompressed videofile via the log, opening in pp, davinci or something else to cut and grade
-opening the ae dng sequence in premiere, if you just want to use these 2 programs. this avoids exporting and having new files which blast your hdd.cutting and cc in premiere.

i did some heavy grading tests and watched the rgb parade. with the gaps in it, you can compare how much the footage holds up in grading.
there were no differences between lets say uncompressed avi yuv 10bit and the original 14 bit footage from acr. only the end of the highlights were somoother in 14 bit.
so  i totally agre with you that there is no main difference when you export the footage in 10 bit.

[rockfallfilms]

I'd really like to be able to use the Resolve workflow but the debayer quality is still pretty poor.

So at the moment I am using the AE/ACR option and exporting to Prores 444 with the VisionLOG profile. I then cut in premiere and grade in Resolve. I'm working on a LUT to use as a base for grading.

[dude]

How do you go from premiere to resolve?

[rockfallfilms]

How do you go from premiere to resolve?

Export an xml from Premiere and then import and conform that in Resolve.

[hjfilmspeed]

I'd really like to be able to use the Resolve workflow but the debayer quality is still pretty poor.

So at the moment I am using the AE/ACR option and exporting to Prores 444 with the VisionLOG profile. I then cut in premiere and grade in Resolve. I'm working on a LUT to use as a base for grading.

I agree. Acr debayers way better. Can you batch export from AE? Is it any faster then exporting to tiffs straight from acr?

[rockfallfilms]

I agree. Acr debayers way better. Can you batch export from AE? Is it any faster then exporting to tiffs straight from acr?

I'm not sure about that, it would be quite handy. I wonder if there is a way to apply an action in AE like you can in Photoshop.

[dude]

Yes, it s pretty easy. Check the tutorial from Andrew Kramer about proxys, it s well explained.

[rockfallfilms]

Yes, it s pretty easy. Check the tutorial from Andrew Kramer about proxys, it s well explained.

But does this method allow you to automate the whole camera raw process? Open dng sequence in camera raw, apply a LOG camera profile and then render out to prores?

I'll have a look on Kramer's site.

[dude]

No, it s just about rendering out the debayered footage.
actually i have the same problem, 140 files to import, debayer and safe..

[bnvm]

OK so here is the most automated way I can find to batch export from AE. This works in CC, may work in older versions but cannot test.

Setup:
Open any dng and change any settings that you want to be used on all footage. For me this would be setting white balance to auto and camera profile to VisionLog. Now on the bar right above were the adjustment controls are, labeled "basic" on the white balance tab, click on the part that looks like page with  a down arrow. Once in there choose the set new defaults. Now the current settings will be used from now on. Note the defaults will only be used on footage never opened with ACR on the computer. ACR must store the settings used somewhere and will remember what was previously chosen.

Create a output preset in media encoder and/or a output module preset in after effects to use during export.

1. From file menu choose scripts->smart import.jcx and navigate to the root folder that has all the footage. This script will import any file it can in the folder and is recursive so it will import from nested folders as well. It will open ACR for every sequence so you will have to hit ok for every sequence. You can also put something on your keyboard to hold down the enter key if you don't want to sit around a hit ok for every sequence.

2. Select the first dng sequence and hit ctrl+alt+g to go to the interpret footage dialog. Make any needed adjustments.
3. With same sequence selected hit ctrl+alt+c or goto interpret footage->remember interpretation.
4. Select the rest of the sequences and hit ctrl+alt+v or go to interpret footage->apply interpretation. This will apply the adjustments done in 2 to all footage.

5. select all sequences and drag them onto the icon below the project window that looks like a film strip and choose multiple compositions. This will make a comp for every sequence.

6. click on the 8 bpc button and choose 16 bit or 32 bit and save.

From here there are 2 options export from AE or Media Encoder. After effects is faster especially if you have multi-processing turned on, media encoder does a better job of encoding. If you are writing out intermediates in something like DNxHD I would use AE, for finals in H.264 I would use Media Encoder, etc...

7. AE: select all compositons and hit ctrl+m or composition->make movie. With all outputs selected in the queue change the output module to the preset of choice. They will all change at once since they are all selected. Go to scripts->change render locations.jcx and choose your output path and hit render.

7. ME: select all comps in AE and drag them into Media Encoder, choose preset and press play.

That is it, using this process you can deal with a large amount of footage fairly easily.

[ilia]

put the Vision log in the camera profiles folder, but only get embedded as option in ACR. What am I doing wrong? Im on a mac.

[Africashot]

Is using the visiontech or visioncolor profile settings in filmconvert 2.0 recommended to be used on this log profile or is it only intended for the canon image profiles?

[ilia]

When I import dngs converted with Rawmagic I can only see the Canon picture profiles, no visionLog.  I put the folder in Camera Profiles. The thing I noticed is that the profiles already there are document dcp files, while the visionLog are Unix Executable File dcp. Is this whats causing the problem? I'm on a mac.

[Steven Griffith]

Is using the visiontech or visioncolor profile settings in filmconvert 2.0 recommended to be used on this log profile or is it only intended for the canon image profiles?

That's for the in-camera profiles only. I could send Lance from FilmConvert an Email and ask if they'll create dedicated profiles for VisionLOG footage from the various cameras.

[guilhermemartins]

Ive just updated my ACR to 8.2 and visionlog profile has vanished from where it used to be .  Any thloughts on geting it back? Kindda hard to be without it once you had it. Good job btw, makes us feel like with mini Alexas  .
Cheers!

[ilia]

Ive just updated my ACR to 8.2 and visionlog profile has vanished from where it used to be .  Any thloughts on geting it back? Kindda hard to be without it once you had it. Good job btw, makes us feel like with mini Alexas  .
Cheers!

I'm also running 8.2 and not working.

[Africashot]

That's for the in-camera profiles only. I could send Lance from FilmConvert an Email and ask if they'll create dedicated profiles for VisionLOG footage from the various cameras.

that would be absolutely awesome! Thanks for all your work!

[Kharak]

I'm also running 8.2 and not working.

I'm running 8.2 and it is working

It all depends on your raw2dng. Some raw2dng's have hardcoded Canon profile information.

Others have none and will not include any camera information other than Embedded. 

You need to find a raw2dng for your model, which can be very hard. my best advice is you search your own computer first, for "raw2dng", see what versions come up and convert just a few frames with each version to see if any cam info is applied. ctrl+a will abort and ctrl+c will exit the raw2dng. This helped me find a version that worked with my camera.

You can also manually add EXIF data, but you got ask one of the brains here about that, I have no idea how to do that.

Hope this helps

[ilia]

I tried converting with raw2dng .13 and rawmagic and neither worked.

[Steven Griffith]

This may be obvious but you'll have to re-install the VisionLOG profiles after updating to a new version of Camera Raw. If you had the profile working in a later version and you haven't updated your raw2dng settings it's not likely an EXIF data issue but either the VisionLOG profiles being inexistent or somehow the resource fork information of the profiles got messed up during extraction... I have no idea.

[ilia]

so it doesn't work with Rawmagic?  how do you update raw2dng settings to recognize your camera?