Canon Cinema Raw Light Workflow in 2021
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- čas přidán 15. 07. 2024
- Canon Cinema Raw Light hasn't always been the easiest format to work with, but with native NLE support and camera-generated proxies it's a much simpler and faster proposition, allowing users to unlock the full power of Raw throughout their edit, rather than transcode at the beginning. This is how I shoot and edit Canon Cinema Raw Light in 2021, with options to either take it through Premiere from start to finish or round trip through DaVinci Resolve.
00:00 Intro
00:13 The old way
01:25 Camera Settings (C200)
04:33 Editing Raw in Adobe Premiere Pro
12:19 Working with Raw in DaVinci Resolve
18:36 Finishing in Premiere
More tips for Premiere and free C200 base LUT from Armando Ferreira: • How I COLOR GRADE Cano...
Canon LUTs for Cinema Raw Light: www.canon.com.au/cameras/eos-... - Krátké a kreslené filmy
Amazingly helpful video😁
Brilliant. Just editing my first test footage with the C300 mkiii at the moment and it's a breeze thanks to your video.
Thanks that’s awesome to hear! How are you finding the C300 mark III? I tested one last week with a view to purchasing one..
@@SideTripProductions I haven't done enough with it yet to give an accurate opinion, but so far it's very impressive. I shot some test footage in raw, at 120fps, 60fps and 24fps - it looks fab and I was able to push it in the grade. Am I getting 16 stops of dynamic range? I don't know. I want to do some sunrise and sunset tests and the weather here hasn't been great for that since I got the camera. I'll pop on here again when I've done more tests. How did you find it in your own test?
@@SeanBreathnach That's awesome. Yeah I really liked the camera overall, but I did find one issue that needs further attention. I had one shot that showed really severe moire on a jumper I was wearing, something I wasn't even testing for at the time. It was genuinely a lot worse than I'd expect for a camera like that, was shooting 25p 4K XF-AVC in Wide DR at the time. When I get a chance I'll put together a video to show. Otherwise I thought the colours were fantastic and the slow mo was excellent.
Yes, completely agree with the workflow. The simultaneous proxy files in XFAVC are super useful to speed up the process.
Thanks!
Thanks - very helpful!
Super helpful 💚
I've been linking proxies one by one wondering why auto link wasn't working for the rest 😅
Great video!
Thanks!
Best video in this topic. Thanks for the clear excurse. I use the C200 up to now only in 4K 8bit. It is really good, but now I think that I should switch to raw with proxies. Instead of a big CF Card I bought an CF adapter with a small SSD (60 Min. raw rec.). In the past I was a little scared about the workflow in post, but now I will try it :-)
That’s great to hear, good luck with the raw shooting, you’ll love it!
@@SideTripProductions The only thing is that the archive must be very large. Normally I keep the used footage on my disks for later request etc. This is very heavy with raw files.
Great workflow, thanks for taking the time to post this video! When I rendered out of DaVinci back to PPro, my video was letterboxed both from the sides and top/bottom. The PPro frame was 4096x2160 but the video itself was ~3610 x 1900. I set the DaVinci render settings to "Render at source resolution" which was 3840 x 2160. Any hints of how I ended with the letterboxed video?
Hello sir! I'm enjoying the content and appreciate this tutorial! I am New to DaVinci and wondering what might be the reason my iso section of raw tab is greyed out and won't let me change? Everything else works but not iso? I'm using canon c200 12bit footage.
Hey! Thanks for the video. Was curious how you expose IRE values with CLOG3 on this? Cheers
Thanks, Matt. In general as long the highlights are below 100 on the waveform I'm happy. I don't have a hard and fast rule for IRE numbers but in general I think it grades better to expose a little brighter without clipping.
@@SideTripProductions Makes sense thanks!
🌟🌟🌟🌟🌟
Really wish you could convert the massive Raw "Light" files to a more capable format like ProRes Raw or Blackmagic Raw. Even with native NLE support these files can be a pain to work with, the data rate is excessive for talking head and basic videos. If only Canon included the option to select different compression ratios!
Couldn't agree more, that's why I never use raw for interviews. Variable compression options would be a game changer for sure.
Thanks a lot! Would it be possible to get a link with a small 1 minute Canon Cinema Raw light file to download, and see how much it takes on my Macbook Pro M1 to transcode? I'm a bit scared with the time it might take. Any help welcome!
hey man. My RAW footage from my canon r5c is very noisy (grainy), do you know why that is? Doesn't look very good to be honest.
I'm curious how this translates to the R5c 8k RAW. Premiere is absolutely chunking along on my beefed out m1 max. I made prores proxies and that is working pretty good. However I'm curious how you do noise reduction with neat video since RAW has no NR. The noise reduction besically crashed my computer when I dragged it on. I feel like I need to apple the NR and render out a new prores file just so it is baked in and I'm not working on RAW footage but I'm trying to figure out the order of operations for that. Do I just edit all the clips raw info first like WB and Exposure then add the LUT on the clips then export a Prores 4444 or 422 option then make proxies off of those? only issue is once you transcode you lose all the raw editing capability.
Hey thanks for watching, hope it was some help. I don’t use Neat Video, I do NR in Resolve which is pretty intensive on the processor and subjective on a shot-by-shot basis to get it right, so you definitely want to do it at the end..
I’d do a small workflow test with some sample shots to work out what will be the best process for your situation.
I'm using a new Canon EOS R5 C and I realize that what is true for it may not be true for the camera that you used in this demonstration but in this case, I *think* it does (and I'm more than happy to be wrong). But, at 3:27, you talk about the gamma that you are shooting it. Perhaps that applies to the proxy files but for the main raw file, I (again) *think* it doesn't make any difference. Here is a statement from the Canon manual for my camera: Custom picture settings do not affect the recording or output of RAW clips. And in this camera that is where you set the gamma, etc.
Also, in Premiere Pro, clicking on the source and then Effects, there is an "Canon Cinema Raw Light Source Settings" where you can give it the color temperature, tint, exposure, color space, and gamma in post.
My current interpretation (which has a close to zero probability of being right) is that the camera settings do NOT make a difference if shooting raw but the settings in Premiere Pro do.
Hey pedzan, you are right- the gamma setting doesn’t apply to the raw recording, however it is useful to choose one (for the C200 I recommend Log3 as Log2 isn’t an option in that camera) as this gives you the closest look to what you’ll get in Premiere or Resolve, and allows you to expose accurately at the time of shooting. You can still adjust exposure in post via ISO, but not lens stop for instance, so you always want to be getting it right in-camera first. Not sure if you watched the whole video but it goes into the source settings later in the vid..
@@SideTripProductions Excellent. Thank you. I was in a state of extreme confusion and I've progressed up to just being mostly confused 🤣 "Raw" for video seems 10 times more mysterious than Raw for still photography. At least it is for me. But I think a few things are starting to make sense.
Hi. Any luts you recommend?
Hello! Do you happen to know if Canon cinema RAW light transfers well to recording on atomos ninja V? I like to record to it externally, in DNxHR HQX, but I'm not sure if that would even pick up RAW light or not. Would the recorder be bottlenecking it? and I would actually get better results recording the raw internally? Thanks!
As far as I'm aware there is a limitation with resolution when shooting Raw, that SDI is 2K/HD and HDMI is HD only, so you'll definitely get better quality recording 4K DCI 12-bit/10-bit internally. Also unless you're capturing a Raw format externally (ie. Prores Raw) you wouldn't get the full benefit of Raw for post.
@@SideTripProductions It feed over hdmi 2.0 which is 4k 60. There is an option for prores raw in the recorder too, it's just that I typically use dnxhr. I suppose worst comes to worst I could just run some tests and see if I feel like switching to raw light actually gives me more flexibility in resolve.
But you do not reduce grain in any way in this workflow?
I do noise reduction in Resolve as part of the round trip
What if you had complex transitions and effects in Adobe, how would that XML import process be ? Your example is with a simple most basic type of timeline. Thanks
Hey Carl, yeah you have to simplify it I reckon. I don't shoot Canon Cinema Raw Light anymore because I've switched to Sony (this video's a few years old), but grading a big doco project recently in Resolve (that was edited in Premiere) I did it section by section (ie. ten minutes at a time or so), removed all of the transitions and effects in the sequence I creating the XML of, then dropped the graded clips from Resolve back into Premiere and lined up all my transitions and effects again on those clips.
@@SideTripProductions thanks
Is the workflow different now with Sony ? Can you shoot RAW with Sony ?
@@carlporter2239 I haven't tried out the Raw workflow for Sony as I shoot on the XAVC-I format instead. I'm sure there are similarities though. Sorry that's not much help!
Just curious-why do some of the editing in Premiere and some in Resolve? Why not do all of it in Resolve?
Familiarity. Most editors like to work with what they know.
No canon log 2 on the c200?
Correct. It’s a bit of a strange one - the format (Raw) supports C-Log2 but the camera only has the original Canon Log or Log3. So you will have C-Log2 in post but should use Log 1 or 3 when shooting (I use 3) to expose properly.
The camera displays canon log 3 but raw footage is always recorded as Conor log 2.
Sort of - technically the raw footage isn't recording any gamma setting, C-Log2 is the default gamma it displays in Premiere or Resolve. But you can non-destructively change gamma if you want, hence the awesome thing about raw. I'd recommend shooting in C-Log3 on C200 since exposing for this will be very, very close to C-Log2 when you bring it in to edit.
Was this shot in Raw?
Yep!
Was that an attempt at a simplified tutorial? Confusing ..