Using the Blackmagic Cinema Camera... in Post
There are currently two main workflow options for users of the Cinema Camera (at the time of writing – September 2012).
This has a number of advantages:
This workflow is industry-standard and will be comfortable for anyone who is familiar with file-based editing. However, this may not be the route that all Cinema Camera owners will take...
While this approach can deliver the best possible results and the greatest level of user-control, currently it entails a more involved, and slower workflow.
Firstly, NLE systems do not currently support 12-bit RAW Cinema DNG files; they simply lack the ability to handle so much data per frame at RGB level, and are solely designed to work with video formats that have 'baked-in' colour data - for example the 10-bit 4:2:2 HQX, ProRes and DNxHD. The same is true for Alexa users, where, for example a plug-in in required for Adobe Premiere Pro to manage colour space, exposure, and white balance with ARRI RAW footage. Similarly, Red users have to transcode Redcode RAW files to Apple ProRes using Redcine-X Pro.
The Blackmagic workflow also involves additional pre-editing processing:
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