ML .RAW Anamorphic Post Processing Techniques

[Danson Delta-40]

I will continue to update this post with new discoveries on how to edit this

Newest Workflow

-I removed use of Adobe DNG converter, as photoshop can open all DNG formats converted from ML RAW files (DNG or CDNG)
-Discovered in Adobe Camera Raw at the bottom of the window is the Bits Per Channel Option, change from 8-bit to 16-bit
-Once batch saved as PSD, you can open and color correct in AE, PPro, SpeedGrade as an image sequence. You may reopen the saved PSDs in photoshop as an image sequence and fiddle around with the photoshop version of a timeline, as well as change the ACR settings after the fact (if you choose camera raw option when reopening)

Overall: Increased flexibility and ability with no loss of compression.
Workflow: Card>Convert to DNG>Photoshop (convert to 16 bit PSD image sequence, use of ACR, no sign of flickering)>PPro>Right click File>Modify>Interpret Footage>Conform to anamorphic 2:1>Drag to timeline (automatically changes sequence settings)
Q: Is there anyway to convert ML .Raw or .MLV STRAIGHT to 16bit camera raw PSD files?

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Hokay I'll get to the point quickly:

I have ML RAW on a canon 7D I shoot at 1408x1156 @30FPS exactly (FPS Override). I have an anamorphic lens (Sankor 16D) attached which stretches the image (2x stretch, changes 1408x1156 to 2816x1156, Ration is (2.44,1), so ALMOST cinematic (2.35,1))

Here is a photo of what my camera looks like: https://fbcdn-sphotos-a-a.akamaihd.net/hphotos-ak-ash3/921678_470098279777458_659724001_o.jpg

Editing with ML .Raw is a pain in the ass (but a worthwhile pain) and throwing anamorphic on top quintuples that. Here is my workflow thus far:

Card>RAWMagic>Adobe DNG Converter>Batch Process Adobe Photoshop to .PSD>Import Premiere Image Sequence>Right Click in file window>Modify>Interpret Footage>Pixel Ration 2:1>New Sequence (doesnt matter format)>Drag to sequence, auto change sequence settings.

A lot of frigging steps, but I believe that this workflow provides several benefits:

1: Native uncompressed editing in Premiere Pro CS6 with realtime playback at a resolution of 2816x1156
2: Adobe Camera Raw MAY or MAY NOT be used when batch processing in Photoshop
3: I have yet to see any flickering
4: Dynamic link to After Effects


Notable Downsides:
1: I do believe after the PSD batch convert you lose the ability to edit certain parts of the image, not sure im not a pro at photoshop. FCP is my main thang yo so dont judge meh.
2: takes f****** forever to convert all the files

In Essence I convert the files 3 times, use ACR which seems to show no signs of flickering as of yet, retain a good amount of camera data (I think) and am able to play full 2816x1156 files NATIVE in Premiere pro CS6 as I see fit.

If anybody else out there has a good way to import these in to premiere pro without that God Awful Ginger HDR, I would be ever so grateful


Thank you ML, Alex, g3gg0, 1%. You guys are the bee's knees.

<EDIT>
Camera specifics:
Komputerbay 1000x 32gig perfectly fast
ML 22/11/2013 Britom Tragic Lantern Semi Stable Version
Fotodiox FD-EF adapter
Canon FD f1.4
55-72mm stepup ring
Vid-Atlantic(?) XL Vamp Clamp
Sankor 16D
Vid Atlantic Front Filter Clamp
Manfrotto 279 something telephoto lens support
H4n with fluffy bit on front
the squiggly cable that plugs in to my 7D

[Africashot]

Thanks for sharing all this awesomeness! I am still at the procrastinating stage of anamorphic shooting so I won't mess with your workflow, which is interesting as I have not thought of involving ps.
But I am really curious about your feedback on the Sankor, how is it behaving, how wide can you go, whats the closest you can focus? Some sample footage would totally rock too!
Thanks again!

[Steven]

Any footage of the anamorphic setup to share yet?

[Danson Delta-40]

In regard to the anamorphic setup and test footage, my internet is slow, its like a dead tortoise on acid. That is how slow it is. Posting video at any size is difficult enough but I can edit stuff together. Tonight I am going with a friend to san franny and we are going to make a video about low light/shooting anamorphic.

The first thing that I really noticed is that on my canon 7D, the FD 50mm looks exactly the same focal length wise as the 100mm L series lens I am borrowing. I still need to do more tests, but I think the Bokeh is slightly better on the 50mm, and I can use more of the focus ring, as the 10mm is a macro lens and focus' to close for the sankor to follow, meaning I can only use like, 1/4 of an inch of the whole focus ring.

Focusing wise, the Sankor 16D gets pretty damn close, considering I effed up when I bought my first anamorphic lens (Schneider Kreuznach 2x). The sankor focus' to just under 2 meters, which is good enough I think for most over the shoulder conversations in a movie. I would suggest getting two or three diopters for super close, but then the depth of field is so narrow even at f2.8 that its very difficult to focus. +1 and +2 are the best of getting closer. I saw a .75 once, try one of those.

Lens flares are better with the canon FD since the coatings arent as new. Looks perfectly crisp and sharp. cant say that about the f1.4 aperature though!

oh, and I need this to focus the whole thing quickly (well, I would like to have this!): http://vimeo.com/58667411 Prety kewl

[Africashot]

Whatever you call slow internet in the bay area must be lightyears ahead of the fastest it can get here in east africa... I still get my stuff online with some patience! Anyway thanks for sharing on all the details, that focusing mechanism certainly looks awesome!

[joeydingding]

Thank you for this! This is just what I need!