« on: February 02, 2014, 05:02:41 AM »
In regards to the boot delay, it will feel like an instant after you realize how time-consuming the RAW video post workflow is
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My most stupid buy was a cheap ring flash.Mm, had totally forgotten about that one.. Was planning to do a few heads-shots of some DJ friends for their social media profiles and such and figured that this would be the proper use of the sometime corny "ring-shaped-catch-lights-around the pupil", so I picked one of the few cheap models that claimed compatibility with 77mm filter thread. When it arrived, I realized: (i) that the circuitry gave off a high-frequency noise that was very unpleasant and (ii) whereas the device was physically compatible with 77mm, you could actually see the ring in the frame - even at 105mm Wrote a sad mail to the ebay seller and he refunded my 50$ and told me that I could keep the device...
Except that tiny camera attached to the cat, that's both useless and hilarious!
- Dyrehaven (take the C train to Klampenborg and head into the forest. You keep on going past the amusement park there... this is also a pretty big forest with deer you can feed by hand), this place stretches out far north.
- Drive up the coast line on "Strandvejen".... every so often you'll encounter a worthy view.
- Go by car to "Møn's Klint" ( a big cliff side area made of lime stone I think... you can stand on top or go all the way down.
I understand, and I share many of your thoughts.When you say that you want to separate conversion and editing, by editing, are you also referring to color management?
Yes. The optimal workflow for most is to do all non-conversion adjustments in an NLE, such as Premiere, After Effects, Final Cut, along with other programs that maintain a "non-destructive" workflow (e.g., Resolve).
Currently, the ACR/LR workflow outputs a Prores 422 file, into which many people are "baking" the white balance and other adjustments. The reason for making the adjustments prior to converting to Prores 422 is that you get to work on the uncompressed file and get a lot better results (especially with tonal adjustments). But the baking-in of these adjustments violates the non-destructive editing flow. In a non-destructive workflow, adjustments can be made at any point in the process, without the penalty of having to re-bake adjustments (in this case, in ACR or LR).
So the new workflows (similar to basically all other video workflows), will convert the RAW file to a format (e.g., Cinema DNG and CineForm) that maintains the ability to make adjustments at any point in the process, and doesn't require going back and forth between programs to adjust simple stuff like white balance and highlight recovery.
That said, ACR/LR do have some amazing features and I'm sure there will be people who will still use an ACR/LR flow (e.g., for extreme highlight recovery, or specific plugins such as SilverEfex). But personally, I want to take the footage straight into the NLE and/or Resolve, without having to worry about whether I "converted" the files properly.
...working with the DNGs in Lightroom is still really useful though. I find it much easier to tweak and do cool stuff....I also like using Lightroom better, but some people have reported that using Lightroom with 2012 calibration can cause flicker as it appears to apply some tweaks on an individual image basis.