Magic Lantern RAW video for the Canon EOS 5D Mark III comes to the Mac & OSX
This was very helpful. It looks like the RAW workflow is starting to take shape!
I want to preface my next question by saying that I'm a video n00b. Should I do most of my tonal/color adjustments in ACR, or should I wait until I have the footage in AE/Premiere and do most of it in Davinci Resolve, MB Looks, etc.? Does it matter where I do it? My instincts tell me that there are two competing issues:
1. Which program is better at a specific task (e.g., recovering blown out clouds).
2. Flexibility of not having to go upstream to make changes to footage and then re-import downstream. For example, if I do my tonal/color work in ACR, won't that mean I have to go back-and-forth, rather than being able to quickly make adjustments via plugin without the extra step of re-importing?
Again... I'm just a n00b here. :-)
I think the stills software tends to have more powerful sliders when it comes to saving highlights, changing brightness, shadow, curves, contrast, etc. The CS6 version of ACR has some very powerful tools that are not just simple dials, pre-sharpening, NR, etc. And then do a few more tweaks in Photoshop itself if needed. Photoshop also hs some very powerful plug ins for creating B&W and such (although I'm having trouble getting the NIK stuff to batch so that is not working out yet). I'd try to get it right as much as you can with those controls. Then you can use AE to save it out to Cineform 12bit or something and do the rest in Premiere. Once it's save into video you can't use ACR or Photoshop on it anymore I don't think (without doing crazy stuff at least).
How do you go about color grading/correcting THAT many images?
Do you select a bunch of them at a time, that appear to be 'similar' for some things? I was just thinking that it would be nigh impossible to do a lot of layer masks on a bunch of images, etc...since things would be moving and you'd have to do it frame by frame...?
I could see in bulk doing a mass change in global things, like total contrast, white balance, etc...but if you had say, a blown out window, that would take a lot of work to restore that frame by frame wouldn't it?
If you could get that footage, still raw where Davinci could do it, then you could use their tools to have tracking done for you on that window, etc....
So, just curious can you give some more in depth on what all changes you manage with PS and the like? I like the idea, but can't imagine the workflow...
Thanks in advance!!