Thanks man! 😊 I try to be efficent in my videos because thats what I appreciate when watching videos on youtube myself. Get to the point and no fluff 😆
I would recommend using Assimilate over RAW Converter. I didn't know about Assimilate before buying RAW Converter but then i saw Assimilate is an actual Apple approved software for ProRes RAW so i feel the transcode is smoother and probably does it more properly. The biggest downside to RAW Converter is you need to be connect to the internet to use it. So if you are somewhere with no internet editing on say your macbook or something, It cannot validate your license and its just a useless software sitting on your computer. RAW Converter also takes your 12bit RAW file and makes it a 16 bit RAW file. I am not sure if that does anything to your footage to make it break apart or makes it less accurate in how it was shot compared to the transcoded version but in Assimilate, you can chose to transcode it at a 12 bit CDNG
Cool, thanks for sharing, im sure gonna try Assimilate again 👍 Required to be connected to internet might not be that of an hassle, I can just use my phone if no wifi around. Im also curious to see if Assimilate maybe transcode to CDNG faster compared to RAW Converter.
16bit is because it's 12bit log I thought. 12bit log is very different than the 12bit linear you might get from the s1h, sigma fp, fs7, fs5 ect. BRAW is also 16 bit in DaVinci FYI. That's because it's 12 bit log. ArriRaw is also 12bit log. I think they went up to 13 for the 35. It's all 16 I'm an NLE, including BRAW. That's 12bit log, NOT 12 bit linear.
@@gregormarini Depends, how many cameras do you have? For RAW Convertor its $60...per camera you have. So if you have Sony FX-30 and an FX3? thats 120 bucks. If you decided to get the new Lumix? Gotta pay for another license. Now if you have 3 FX3s for example, than just one license. BUt if you play around with multiple cameras, you have to buy a license for each one you use. Assimilate is a once time perpetual license for as many cameras as you want and personally what I think is cool about Assimilate is I dont have to convert to DNG if I dont want to, I can make raw adjustments in the software, then export to like an Arri LogC3 or something in ProRes 4444. So for the extra few bucks, you get a bit more flexibility. I think RAW converter would deff be the better buy if you just have one camera and stick to the one camera and ONLY want CNDG
@@errol3184 I just learned something, ARRI RAW does basically what the atomos ninja does. Just had to read a white paper on it to see if you said was true and it is. It takes a 16 bit Linear space and converts it to a 12-bit LOG space. Learn something new every day!
For some reason my first conversion had the cinemadng file with color and contrast baked into it? Doesn’t look like a raw log file. I did have a view setting selected on my ninja when recording but even my prores raw files look flat when I originally imported them. Did I do something wrong?
Check under your RAW tab in Color page, switch the dropdown list to clip ( i think it is calles, not in front of resolve right now ) - now furrher down you can change how you want to interpret the CinemaDNG file. I usually go for the Blackmagic film option 👍
Amazing how you solve a lot of questions as new in the raw ! The question in the converter what is 3:1 5:1 and without compression is really any difference?
Thanks man! Glad I could help 🥳 3:1 seems to me like good balance, if compress it more you start to see blockiness in the color channel. And if you compress less youll have a hard time noticing any difference, but with huge filesizes.
Working just fine with Panasonic,GH5s,S5,S5iiX I think I prefer the IQ from proresraw converted to CDNG over the BRAW from my videoassist...but it takes a huge amount of space and is hard to work with my computer...for the 5.9K CDNG raw from my S5org...4K cdng from my Gh5s is no problem
I struggle color grade CDNG files, it seems like there isn't good compatibility with DaVinci Resolve Some controls in the color page don't work perfectly... For example, if shot a clip that has overexposed areas, in the camera raw settings I can lower my exposure and since it is a 16bit file i can easyly recover that overexposed area the problem is that all my blacks and shadows crash down... so then i use the shadow control to recover those dark areas BUT over a certain level i get something similar to a compression or a bad recovery that turns my blacks to greys... i believe it is best working with prores444xq which has lots of information and it is easily gradable let me know if you can find a solution with dng files
Maybe try to just bring your footage into range with the RAW-tab , and then in your nodes just grade your material as usual? Also, try the Blackmagic color space and film gamma in the RAW tab. I just tried exposing down in the RAW-tab on my CDNG-footage and my blacks is actually staying consistently at 0 level, no clipping.
Yeah, it’s a pain. Let’s hope Blackmagic will open up for native Prores RAW support some day. Just a note, in RAW converter there is a compression option, so you dont have use uncompressed CDNG. That would’ve been huge filesizes 😅
