Also make sure ‘use source filename’ is ticked too.ĭepending on the speed of your machine you will probably want to adjust the debayer settings to 1/2 for faster turn around of your offline proxies. Make sure Render Timeline As: Individual Clips is selected. In this example set your Render To: Quicktime. Step 5 – Hop over to the Deliver page and set up your files for rendering out as proxy media. You can add in contrast and saturation manually or you can simply add the 3D Rec 709 LUT that ships with Resolve, or create your own LUT from the ARRI LUT Generator site. Step 4 – As ARRIRAW is recorded as a Log-C image, your files will look grey and flat, which is what you want as it gives the colorist greater latitude to play with. Again in Resolve 10 there is a new sharpness debayer control along with Color Temp and Exposure. Adjust this per clip for individual control or as a project wide setting to affect all your clips at once. To do this inside Resolve, click on the Camera Raw tab in the Color page. One of the main benefits of shooting with RAW is that you can alter the camera’s metadata (such as Color Temperature and Exposure) from within your grading or dailies package. Here you can grade your footage to taste. The Master Timeline is a ‘stringout’ of all the media in the project. Step 2 – Jump over to the Conform page and create a new timeline by clicking on the + plus button at the top left of the screen. In Resolve 9, you need to ensure your project settings are correct. In Resolve 10 an empty project will adapt itself to match your imported footage settings. All you need to do is navigate to the ARRIRAW folder and drag and drop it into the Media Pool. Step 1 – Fire up DaVinci Resolve Lite and bring you ARRIRAW media into the Media Pool. The RAW file itself is an image sequence that looks like this. To give you some idea of the file sizes, the 869mb download file unzips to 1.25 GB folder containing a 7 second video clip. ari file from Convergent Design. This clip was recorded on one of their Gemini 4:4:4 units which is able to handle the massive data rates. Transcoding ARRIRAW to Pro Res with DaVinci Resolveīefore we begin, if you want to give this workflow a test for yourself you can download a 12-bit ARRIRaw. Of course you can transcode your proxies to MXF for Avid or create digital dailies in any other format you wish. You can use those ProRes proxy files in all of the major NLE. DaVinci Resolve Lite is a great FREE program to use to perform this offline/online workflow with ease. If you are working with 12-bit RAW files fresh from the Arri Alexa, you’ll almost certainly want to transcode them into offline edit proxies to work with, and then online your finished project back to the full resolution RAW files for grading. How do you turn your ARRI RAW files into ProRes proxies for your offline edit – for free?
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