NAB 2013 has been over for almost a month now and by my take, one thing is clear: RAW video is going to make a serious impact on the entire industry over the course of this year. With Blackmagic Design leading the way, we are now getting access to previously Hollywood-only technology at a price point that is not only competitive with DSLRs, but actually is more affordable than the industry workhorses like the Canon 5D Mark III.
Of course, new technology brings with it a learning curve as people figure out how to integrate the “latest and greatest” into their preexisting workflows. When we got our hands on the Blackmagic Cinema Camera, we had to do some not-insignificant brainstorming to come up with a good way to handle the camera’s enormous 12-bit Cinema DNG files. And we realized that we were not at all alone in that process – thousands and thousands of people will no doubt have similar conversations in the near future about how to make something like the RAW-capable Blackmagic Pocket Cinema Camera work for them.
In light of that, we thought we’d share our current working solutions to tackling post-production with the Blackmagic Cinema Camera. Our process is nowhere near perfect, but considering the limitations that we’re working around (like no support for Cinema DNG in Adobe Premiere CS6) it works pretty well for us.
In this video we take you through a quick workflow overview that starts from “the beginning of post.” We use Davinci Resolve 9 Lite (available for free via the Blackmagic website) to render proxies, and then head into After Effects to export final, graded versions of our clips. In our next video we’ll take a closer look at how we actually approach color grading in Adobe Bridge and Adobe Camera RAW, and also highlight some things to watch out for.
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