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Optimizing your RAW Workflow


Purpose of this GuideNo doubt you have heard of the benefits of shooting video in RAW Formats, but perhaps don’t have a full understanding of what RAW video actually is, the requirements, or how to work with the footage once you have shot in RAW. This guide’s intent is to be a step-by-step guide of working with footage captured in RAW, how to work with it in post-production, and how to maximize the benefits of doing so while minimizing the downsides of working with RAW Formats. This guide focuses strongly on including Color Correction as a vital part of Post-Production, but can certainly be skipped if needed. It is up to you to determine the needs of your project and how the workflows provided fit in that context.

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What is Raw? Firstly, RAW data is not video, it is digital information, and to explain this we will have to explain first how digital video cameras work and how processing and compression is used to create video files.

RAW > Uncompressed > compressedA camera typically does 3 things when it captures images & video.

CAMERA SENSORThe Camera Sensor converts light into digital data ordered by frames.

IMAGE PROCESSORThe Image Processor debayers data into video. Applies White Balance, Chroma - sub-sampling, & ISO

COMPRESSIONCompression is applied(H.264, X-AVC, ProRes) to save space and packages it into an easy to use video �le(.mp4/.mov).

raw(cinema dNG,

redcode r3d, arriraw)

uncompressed(10 bit rgb 444,

8 bit yuv 442)

1001010101010100101010101010010101000101

RAWRAW Data is the information that is recorded at the sensor, it is information from every pixel, for every frame before image processing. This makes it the most versatile type of footage, but also the most storage intensive. Not many cameras are able to output Raw Data, at this time of writing, we have three: our RED Scarlet-X(redcode .r3d) and our two Blackmagic Pocket Cinema Cameras(CinemaDNG).

UncompressedUncompressed video the data that the image processor produces before compressing and saving it as a file. This is typically not output as a file, but as a feed through HDMI or SDI. At the time of writing this recording this feed requires the use of an external video recorder, such as an Atomos Shogun.

Compressed VideoThis is what most of us are used to working with, a standard video file with some flavor of compression. At the time of writing the most common compression used is AVC: .mts, m2ts, mxf files, H.264 as quicktime files, or .mp4 files. Other compression codecs you may be familiar with are Avid DNX, Apple ProRes, or Panasonic’s DVCPro HD.

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Benefits of Raw• Higher quality images compared to compressed footage, more detail in shadows and highlights, and

the transition from highlights to shadows tends to look more natural.• More dynamic range, very useful in tricky cinematography situations such as having limited access to

lighting equipment, or shoots that involve exposing the sky in addition to the foreground. • Added versatility in post-production, ability to change ISO, White Balance, and sharpness after footage

has been shot. This makes it easy to correct over or underexposure, and inconsistencies that can occur between shots

• Footage is more forgiving to Visual Effects and when compositing. • RAW Footage is much better suited for Chroma-Keying.• Better overall color quality, versatility, and control in post-production.

downsides of Raw• The high bitrate of RAW requires much more storage space, usually 2X-3X more than other formats.• Can be completely unnecessary if not doing much in post-production(not colorgrading, shooting Black

and White)• More storage space means less shooting time on shoot days. On the BMPCC, you get 15 minutes of

RAW footage per 64GB SD Card, versus 37 minutes of footage shooting ProRes 422HQ.• Requires knowledge of debayering software(Davinci Resolve or RedCine-X) to get best results. This

adds another step between shooting and editing.• Editing natively in RAW is possible but requires a lot of processing power, resulting in slowdown during

editing. • Color Grading can be time intensive and yet still produce inconsistent results from shot to shot. • Due to limited access to cameras that shoot raw, this can result in variations with mixing footage from

other cameras, and require more time color matching footage (Generally, it is always best to shoot with 2 of the same cameras for multi-camera shoots)

So while there may be great benefits to shooting in RAW, it’s important to consider whether they fit the structure of your work and whether the resources you have available can support a RAW Workflow. Only you know the limitations of your project and your work, and RAW formats can both hamper a great idea or open it up to greater possibilities.The following sections will discuss workflows where we will provide methods that will increase the benefits of RAW, while decreasing the downsides.Please remember that this guide is roadmap for your Raw Workflow, There are many ways to get from Point A to Point B, and the following workflows are not strict linear paths. You can easily begin with a Linear Workflow and transition into any of the other ones if your needs change as your project progresses.

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Roundtrip Workflow OverviewOptimizes editing lots of footage, while optimizing footage for Color Grading

A roundtrip workfl ow is also known as a Offl ine/Online Workfl ow. ‘Online’ and ‘Offl ine’ refers to working with full-resolution or reduced-resolution. In this case we will refer to the RAW Footage as ‘Online’ and ProRes Proxies(lower resolution) as ‘Offl ine.’ This workfl ow is ideal with longer projects where you will be spending a lot of time editing and if you intend to do a lot of color correction, color grading, or compositing.

Online

Online

Offline

assembly

Edit

Color grading

Import .dng/r3d files into DaVinci Resolve. Select good takes & export takes to QT Apple ProRes 422 LT

Import Quicktime files into your NLE of choice and edit your project into a sequence. Export sequence to XML.

Import XML file back into Resolve 12. This will import your edit sequence without the footage, conforming back to CinemaDNG or RedCode.Color grade edited sequence with Raw files.

Resolve 12

Resolve 12

assembly

Resolve 12

The idea behind the ProRes LT fi les is that the RAW fi les will slow you down during the editing, when you’re looking at a lot of footage, typically much more rapidly than you would be during any other stage of post-production. The quality does not need to be at 100% as your focus is on pacing, performance, and narrative/artistic content. We return to Online when focus is required on the adjusting the picture: during color grading, compositing, and correction. Note that your project settings may vary from the following example. This workfl ow is agnostic to Raw Format and NLE: Red r3d fi les, CinemaDNG, and Final Cut Pro X and Premiere Pro are supported. The following was produced with CinemaDNG footage from a BMPCC(1920x1080p23.98) and edited in Premiere Pro.

Continued with step by step instructions on next page.

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1assemblyDaVinci resolve 12

Import FootageIn the Media Workspace, locate your Raw media(.dng/.r3d) in the Media Storage window, to the left of the Monitor. Select all of your Footage, and drag it into the Media Pool, the media pool is akin to the Project Window(PPRO), or Library(FCPX).

Create an AssemblyMove forward to the Edit Workspace.Review your footage and move all useful footage(good clips) into an Assembly Timeline.

Basic color correction(optional)This is purely optional, but if you’ve shot in BlackMagic’s Film Gamma, or in Red’s Log Gamma, your image will appear desaturated, fl at, and colorless, you can bring a lot of that picture back in the Color Workspace, where you will have full control over the picture qualities of your shots. Move onto the Color Workspace. Bring some of that contrast back into your picture, and give it a generally attractive color representation. Remember that your project will return to Resolve for a fi nal grade so try to avoid wasting time during this process, and focus on having a basically attractive representation of your picture while editing. Refer to the Color Correction in DaVinci Resolve for using Color Correction Tools

Roundtrip Workflow

Media storage

Media pool

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Export to ProRes 422 LTOnce your Assembly is complete, move onto the Deliver Workspace. This is where you will export individual clips. In the upper left hand side, the Format panel, follow these instructions: 1. Select Individual Clips2. Set Video Format: Quicktime

Set Codec: Apple ProRes422 LT3. Select Render at Source Resolution4. Make sure Export Audio is Selected

Render Audio Channels to Same as Source

5. Make sure Filename is Use Source Filename

6. Create a Proxies folder in your Project folder and set the Render to: to this destination. This is where your footage will export to

Roundtrip Workflow

2EDITFinal cut pro X or Premiere Pro CC

1. Import ProRes 422 LT Footage2. Edit your Sequence as usual, you

can do an editor’s grade in your NLE but your grade will not carry over back into Resolve 12. Do not worry, You will be able to compare the footage with the original footage and match the grade once back in Resolve.

3. Once your project is in picture lock, duplicate your edit sequence, and it is highly suggested to simplify your edit down to 1 video & 1 audio track. This is to reduce the amount of things that can go wrong when importing the project into Resolve.

4. Lastly, export a Final Cut XML & an offl ine reference clip..

...Continued on Page 7

example of an Editor’s Grade

a simplifi ed timeline (1 video and 1 audio track)

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Export a Final Cut XML and an Offl ine Reference ClipFirstly, Export an XML fi le from your NLE.In Premiere Pro Go to:File > Export > Final Cut XMLIn Final Cut Pro X Go to:File > Export XML...Set your destination folder to your Project folder on your harddrive.

Next export your Offl ine Refrence Clip.. export your media as you would normally export a master fi le.In Premiere Pro Go to:File > Export > MediaIn Final Cut Pro X Go to:File > Share > Master FileThe settings used in this example are as follows, but know that your project and sequence settings may diff er:

Format: QuicktimeVideo Codec: Apple ProRes 422 LTResolution & Framerate: use Same as Source (1920x1080, 23.978fps)

What are the offl ine reference clip and Final Cut XML for? Final Cut XML is an open project fi le format accepted by many post-production applications. In this instance, it will be used to import your edited sequence from your NLE into DaVinci Resolve.The Offl ine Reference Clip will be used to cross reference the accuracy of transferring your edit from your NLE into Resolve. It is a common occurrence that eff ects, cuts, and transitions will shift a few frames when using an XML to transfer projects between ApplicationsAdditionally, the Offl ine Reference Clip will allow you to compare an editor’s grade(color correction/grading done in your NLE) to your originally shot footage, allowing you to match the grade with Resolve’s better grading tools.

Exporting an XML from Premiere Pro

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3Color CorrectionDaVinci resolve 12

Open your assembly project in Resolveby default, Resolve will open to the last opened project. You may need to import your project if you are working on a diff erent station. If your previous Resolve Project is missing, follow the instructions on page.

Import .XMLGo to File > Import AAF, EDF, XML and fi nd your .xml fi le exported from FCPX/PPro. A Load XML dialogue will pop up. Make sure that Import Source Clips into Media Pool is unchecked!This is so that Resolve will ignore ProRes 422 LT footage and conform to the original CinemaDNG fi les. Secondly, make sure your timeline resolution and frame rate match your Edited Project.Select OK.

Import Reference ProRes as Offl ine Reference FileGo to the Media Workspace. In the Media Storage window locate the Offl ine Media / Master clip exported from your NLE. Right Click on the Reference fi le and select “Add as Offl ine Reference Clip” It will then be imported into the Media Pool with a checkered Icon. Next, Link the reference clip to the Timeline, by Right Clicking the Imported Timeline (in this case RoundTripEdit), and in the Context Menu, Go to Timelines > Link Offl ine Reference Clip and select the Clip

Make sure this is UNCHECKED!

Roundtrip Workflow

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Cross compare the Imported Timeline versus your Offl ine ReferenceIn the Edit Workspace, Select your imported Timeline, and set Source Viewer(via the Icon in the lower left corner) to Offl ine.This will automatically gang your Timeline Playback in the Canvas Monitor with the Offl ine Playback in the Source Monitor. The two monitors should play forward in sync. Note below the Source Monitor on the left is displaying the Offl ine Reference File with the preliminary grade during Assembly.Look for inconsistencies between Crossfades, Eff ects, and any Motion controls applied during playback, as this is usually where inconsistences are when they occur. Corrections can be made in the Timeline.

Set to ‘Offl ine’

Final Color CorrectionNow that your edit is conformed and double checked with your offl ine reference. You can now use DaVinci Resolve’s robust color correction tools to fi nalize the Color Grade for your fi lm shot by shot. If you need a how-to guide on using Davinci Resolve’s color tools, look at the Color Correction in Resolve 12 on the FVNMA Tech Blog

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4 exporting a master Resolve 12 / Deliver

In the Deliver Workspace export your Color Graded Film. Your export settings will vary depending where your fi lm will be screening, but follow the Output settings below as a guideline. Typically a good master fi le will work great for transcoding to DCP.

Archive / Master fi leFormat: QuicktimeCodec: Apple ProRes 444Resolution: 1920 x 1080 HD(for HD) @ 23.976 fps3840 x 2160 UltraHD(for 4K) @ 23.976Audio: Export Audio, Linear PCM

Export for WebFormat: QuicktimeCodec: H.264Resolution: Dependant on Video Platform; typically 1280 x 720 @ 29.97 works well for most platforms and is small enough for limited/free accounts. Audio: Export Audio, Linear PCM

Export a source for conversion to DCP, Computer Playback, or Blu-RayFormat: QuicktimeCodec: Apple ProRes 444Resolution: 1920 x 1080 HD(for HD) @ 23.976 fps3840 x 2160 UltraHD(for 4K) @ 23.976Audio: Export Audio, Linear PCMfor DCP it is imperative that your audio is exported at 24 bit resolution.

Exporting for a return to Premiere ProThere are reasons why you may want to get your color corrected fi lm back into Premiere Pro, typically to add Color Bars or a Countdown Leader or you need to re-do credits. Format: QuicktimeCodec: Apple ProRes 4444Resolution: 1920 x 1080 HD(for HD) @ 23.976 fps3840 x 2160 UltraHD(for 4K) @ 23.976Audio: Do Not Export AudioReopen your Premiere Pro Project, Duplicate your Final Cut Sequence, Delete all Video Tracks and Replace it with this ProRes File.

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Linear/Prores WorkflowOptimizes editing lots of footage, while giving you more options with post-processing. This linear workfl ow is less complicated than the previous roundtrip in that it does not require you to return to Resolve 12 after editing. This is ideal for projects where your NLE’s color correction tools are signifi cant enough, and/or if you intend use your footage directly into Motion or After Eff ects.

ColorgradeNatively in NLE oruse Magic Bullet Looks

Debayer & Assembly

Edit

Import .dng / .r3d files into DaVinci Resolve or Red Cine-X Pro. Select good takes & export to QT Apple ProRes 422 HQ

Import ProRes 422 HQ files into your NLE of choice and edit your project into a sequence.

Resolve 12

Edit

via Adobe Dynamic Linkvia Final Cut XML

Resolve 12

The idea behind the ProRes 422 fi les is that the RAW fi les will slow you down during the editing(when you’re looking at a lot of footage) while still being of a high enough quality for color correction and grading after picture lock. This is a compromise from the Roundtrip, where you will not have the full capabilities of RAW once you intend to color correct, but will have broader options to work with in post. The transition into After Eff ects is much easier for instance.

Note that your project settings may vary from the following example: In the following we will be using CinemaDNG footage from a BMPCC(1080p23.98) and Red r3D fi les from a Red Scarlet-MX(4KHD 23.98).

Continued with step by step instructions on next page.

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Linear / Prores workflow in resolve 12

1Import media & Build assembly

Import FootageIn the Media Workspace, locate your Raw media(.dng/.r3d) in the Media Storage window, to the left of the Monitor. Select all of your Footage, and drag it into the Media Pool, the media pool is akin to the Project Window(PPRO), or Library(FCPX).

Create an AssemblyMove forward to the Edit Workspace.Review your footage and move all useful footage(good clips) into an Assembly Timeline.

Media storage

Media pool

2 set your debayer settingschoosing color science & gamma

Once your assembly is complete, you should check the way your footage is being debayered before exporting to ProRes. To check the debayer settings in Resolve, go to the Color Workspace. Camera Raw settings are managed shot by shot and are in the Left most Panel of the lower half of the screen.

Camera RAW Settings

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1. Color Space & GammaFor Blackmagic Pocket Cinema Cameras: There are only two options for Color Space & Gamma: Film and Rec.709 For Red Scarlet MX: there are a number of options, but to keep things simple keep it to two: It is best to use RedColor4 either in RedGamma4 or RedLogFilm.If you intend to colorgrade the ProRes footage after editing, a fl at Log/Film gamma is preferred by Colorists as it provides a broader dynamic range to work with.

2. White Balance Correction & ExposureThis will be your best opportunity to correct for poor White Balance, and Exposure, as you have full access to changing any settings to the camera after it has been shot. Any changes here are non-destructive to the footage and are a primary example of why shooting in RAW can be so benefi cial. Keep in mind that these are correction changes only and no creative choices should be made at this point. Any changes made here will be ‘baked in’ to the footage.

Scarlet MXREDlog Film

Pocket Cine CamBMD Film

Scarlet MXREDgamma4

Pocket Cine CamRec.709

3Export to ProRes 422 HQOnce your Assembly is complete, move

onto the Deliver Workspace. This is where you will export individual clips. In the upper left hand side, the Format panel, follow these instructions: 1. Select Individual Clips2. Set Video Format: Quicktime

Set Codec: Apple ProRes422 HQ3. Select Render at Source Resolution4. Make sure Export Audio is Selected

Render Audio Channels to Same as Source

5. Make sure Filename is Use Source Filename

6. Set Render to: a Proxies folder on your harddrive next to your Raw Footage

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Linear / Prores workflow in RedCine-X PRo

1Import Media & Build assembly

Import FootageIn the Media tab(Left of the Monitor) locate your Raw media(.r3d) in the File Browser.Select all of your Footage, and drag it into the Project Browser. Here you can organize your footage and sort it by shoot, scene, etc.

Create an AssemblyIn the Project folder, select the Show button and make sure Sequences are Visible. Rename Sequence 01 to All Footage, with this sequence you can sit back and review your footage, and make selections. To reduce this down to an Assembly, I duplicate the Sequence, rename it to Assembly, and delete unnecessary clips. Here you can see I labelled my good clips Green.

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1. Color Space & GammaFor Red Scarlet MX: there are a number of options, but to keep things simple keep it to two: It is best to use RedColor4 either in RedGamma4 or RedLogFilm.If you intend to colorgrade the ProRes footage after editing, REDlogFilm is preferable by Colorists as it provides a broader dynamic range to work with.

2. White Balance Correction & ExposureThis will be your best opportunity to correct for poor White Balance, and Exposure, as you have full access to changing any settings to the camera after it has been shot. Any changes here are non-destructive to the footage and are a primary example of why shooting in RAW can be so benefi cial. Keep in mind that these are correction changes only and no creative choices should be made at this point. Any changes made here will be ‘baked in’ to the footage.

2 set your debayer settingscolor science, gamma, & apply basic Color Correction

Once your assembly is complete, you should check the way your footage is being debayered before exporting to ProRes. Go to: Look : ImageHere you have full control over how the sensor data is converted into Video Frames: Color, Gamma, White Balance, ISO, Etc.

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3 export to quicktime filesApple Prores 422 hq

Create an Export PresetSelect Export at the top of RedCine-X. Firstly, make sure the Timeline is visible, and that you are in the ‘Assembly or Good’ Timeline. Create an Export Preset by Selecting the + on the bottom of the Export Presets panel.In the popup dialogue:Name the preset Apple ProRes 422 HQSet File Format to Apple ProRes, Select Setup...Set Compression Settings to ProRes 422 HQand make sure Frame Rate is set to Clip Frame Rate.Select OK.Set the Output Location to Custom Output.Hit SAVE to create the Preset.

Export TimelineOn the bottom of the Presets Panel, Select the drop down menu next to the export button. This is how Redcine-X will export the footage, select Timeline (separate clips)and hit Export.A popup to select the destination folder will arise, set it to a ProRes Folder in your project folder. to Monitor the progress of the Render, select the Export tab above the Timeline.

purpose of this guide -...

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