CinemaDNG RAW Workflow for Blackmagic Cameras Blackmagic Cameras are capable of shooting to two types of Dynamic Range : Video and Film. Each option can be recorded in Apple ProRes 422 or CinemaDNG RAW (The Cinema Camera can also shoot in the Avid DNxHD codec.) While Video uses a Rec709 linear standard with limited Dynamic Range, the Film log has a 13-stop latitude, requiring a workflow utilizing DaVinci Resolve for the purpose of: 1. Rough Grading Film log clips and exporting Proxies for Assembly 2. Reconnecting to original source clips for the Final Color Grade CinemaDNG A file format designed to store high-resolution video streams in lossless Camera RAW. Each video frame is independently encoded using the DNG (Digital Negative) image format and stored inside a folder. Choosing a Recording Format When choosing a recording format, there are many things to take into consideration. In basic terms, CinemaDNG is a RAW file format with large file sizes that offers more color and luminance data to work with during color grading. Apple ProRes 422/Avid DNxHD - Smaller File Sizes (up to 28 MB/s) - Lossy Image Compression - 10-Bit 4:2:2 Color - Works with any NLE CinemaDNG RAW -Larger File Sizes (up to 150 MB/s) - Lossless Image Compression* - 12-Bit 4:4:4 Color - Must be processed in DaVinci *Some Cameras can record to a lossy version like CinemaDNG RAW 3:1. Though the following workflow is based on CinemaDNG RAW source clips, it can be utilized for Apple ProRes 422 and Avid DNxHD source clips as well. v1.1 OperationalPortal.com NSC157 1
1. Ingest Clips from Media Storage to Hard Drive The CinemaDNG video files are stored as sequences of individual frames inside folders on your media storage solution (ie SSD, SD, CF, etc). Playback and post-production require software that can stream the files and export them into an editable codec. Audio is stored as a separate.wav file inside the folder 2. Import Footage into DaVinci Resolve Media - In order for DaVinci to recognize your Hard Drive, you will need to add it as a Scratch Disk: Preferences>Media Storage - Select your CinemaDNG video files from the Library and add them into the Media Pool Edit - Create a new timeline for each footage drop, and drag your clips onto it. - This utilizes DaVinci as the primary ingest tool for your project, and allows the footage to be reconnected later. v1.1 OperationalPortal.com NSC157 2
FILM PROGRAM Screener Delivery 3. Rough Grade for Assembly Project Settings Color - In order to utilize the full range of digital information, open the Project Settings > Camera Raw - Profile: CinemaDNG - Decode Using: Project - Color Space: BMD Film - Gamma: BMD Film - From here, you can use DaVinci Resolve to do a rough grade and export proxy clips for assembly, instead of working with ungraded Film log clips. This can be achieved several ways: - Apply a LUT (Recommended) - Manual Grading - Change Color Space & Gamma to Rec709 v1.1 LUT stands for Look-Up Table, which is a series of values applied to an image in color, brightness, and contrast to create a desired look. Most camera profiles, like Blackmagic Cinema Camera Film, have a corresponding LUT that was developed to work with the profile. To Apply a LUT (Look-Up Table), Right-click on the Node: 3D LUT > Blackmagic Cinema Camera Film to Rec709 OperationalPortal.com NSC157 3
FILM PROGRAM Screener Delivery 4. Export Clips to ProRes Deliver - To export to ProRes, follow these recommended Advanced Render Settings: - Presets: None - Render timeline as: Individual Source Clips - Video Format: Quicktime - Codec: Apple ProRes 422 (LT or Proxy) - Video/Data Level: Auto - We also recommend creating a File Subfolder named Proxies to store your new ProRes clips separate from your CinemaDNG files. - Then click & Proxies are clips with a lower data rate requiring less storage, resulting in increased computer performance during various editorial stages. 5. Import Clips into NLE Now that your clips are graded for assembly and exported to ProRes, they can be imported into any NLE you choose (Adobe Premiere, Avid Media Composer, Final Cut Pro, etc.) When inside the NLE, rename your clips according to their slate, and sync them to audio for projects utilizing double-system sound. Afterwards, the clips are ready to be edited into your project. Once you have picture locked your edit, you can go to the next step in the process v1.1 OperationalPortal.com NSC157 4
6. Export XML from NLE Most NLE s have the option to export a variety of interchanges, like EDL, OMF, or AAF. The XML, developed for Final Cut, works best with DaVinci Resolve. *File > Export > Final Cut Pro XML *Based on Adobe Premiere. Varies between NLE s. 7. Import XML into DaVinci Resolve - Reopen the DaVinci Resolve Project where you have been ingesting your footage. - File > Import AAF, EDL, XML - Select your Exported XML XML Extensible Markup Language 8. Reconnect to Source Clips On the Load XML window, locate and Uncheck: Automatically import source clips into media pool Instead of importing the footage you edited with (Proxies), DaVinci Resolve will simply reconnect to the CinemaDNG RAW footage already in the media pool from the initial ingest. Uncheck 9. Final Grade and Delivery After you complete your final grade, simply Deliver (see Step 4) a single Final Graded Video file in your desired codec (ProRes 422 or 422 HQ) Presets: None Render timeline as: Single clip v1.1 OperationalPortal.com NSC157 5