ARRI RAW WORKFLOW

Hi Friends,
Please suggest the best workflow while using arri raw footage in FCPX.
I'm not sure whether the arri raw files can be directly ingested to final cut pro X.
Thanks in advance
Sreekumar Nair

Similar Messages

Relinking to ARRI Raw files?

Looking to re-link to the original digital camera negative Arri Raw files. I have a locked picture with offline ProRes files and would like to bring in the Arri Raw clips for advanced repo etc ...
Does anyone have a workflow for this? I cant seem to find anything online showing a step by step for it.
Thanks

Hi Xstimux,
What most people do is begin in DaVInci and generate proxies from there. You work with proxies in Premiere Pro creating your offline. Then you bring the edit back into Resolve to grade the RAW clips. Is this the method you used so far? Here is a video describing the process but with BMPC DNG files.
Thanks,
Kevin

Arri raw converter ( alexa )

I may be able to get some sxs card alexa footage (just junk we shoot real fast when they call lunch break ) from work onto my graid external via friends at work.
they are shooting log c for this job but I guess we can make it arri raw instead.
question... does the arri raw viewer "see" the log c if thats what I get ? Or does it have to be raw ?
also...I have pc and I'm sure the stuff on camera truck for transfer is going to be mac... and my graid is now formatted ntfs pc...
I dont think mac can write to that...so if they format to mac and I buy macdrive that will work OK, right ?? I mean, they will be able to see the drive and format it to mac right ??
thing is, as favor to me at work I dont wanna make anything weird or difficult for them...time consuming etc.
and finally...apparently I can use arri raw converter to convert to quicktime stuff or dpx or ( if its raw ) to log c....any suggestions re: best quality downsizing would be appreciated ( as I have mousey computer and cs3 ).
thanks
( am ready for the laughter and jibes now )

what are you getting masters in ?
hmm, thanks for info re: track. Never used that. And only used panther a few times so that is sorta understandable I guess...
We use mostly film air alum track now. Used to use the steel mathews track mostly...till the filmair stuff got invented.
Sometimes use track wheels on fisher dollies...sometimes ( probaby most times ) use skateboard wheels. And dance floor or shelving ( 1x12 x 16 or cut to size clear pine ). Using 3/4 birch ply and plastic sheets mostly for dance floor. Is nice and smooth.
Gotta make sure plastic is same "run" though...out of the die at factory...or they are slightly off in thickness.
Rip dance floor stuff down to exactly 4x8, 4x4, triangles, 2x8 and 1x8...usually is good for all spaces.
yeah, doorways tricky especially on slight angle through instead of perpendicular to threshold...thats cool the panter track comes in narrow width. We usually "rack" the track a little if necessary and leave 2 adjacent wheels unlocked on peewee or chapman hybrid ( 2 legs float ).
So many cool things to yap about re: dolly... you would think, " what could be so tricky about this ??" ... but it does get a bit tricky sometimes.
I find about 1/3 or 1/4 of operators really good to work with -- usually the ones that didnt "grow up" doing steadicam and hand held are the better ones ( with wheeled heads ). If an operator can't use the wheels I usually think, " oh oh...this could be trouble..." But I heard you use mostly fluid heads over there in your neck of woods...in which case the wheel thing doesnt hold true for your operators... as they'd have to be real good with fluid head in general.
Nothing makes a boom looks dumber than changing air space above talent heads etc from less than lovely operating
same with back panning etc.. when I get an operator who knows what teamwork means..I am happy as a clam ! If he says, " leave the wheels unlocked so I can adjust with my feet " I am looking at a long day probably ( time will drag ).
I agree that doing editing ( even the little that I've done now in past year at home has helped me ) really solidifies some things re: shooting and pace and timing etc..as you mentioned....also it makes it more fun, believe it or not...as its easier to see the edit from the coverage and vica versa..( see what coverage you need when shots are blocked )... way more fun than just sitting there waiting for someone to say " put the lens here ".
I went to pratt for fine art photography and thought I knew a lot about lighting and camera when I started gripping...but there are guys here ( 4-5th generation ) who are soooo good its amazing. Know the framelines, cc, stops, depth of field, how to shape the light well ( diffusion, cuts, teasers etc ).. just really amazing ..some of the grips ...
You guys in general have very good reputations as talented crews here in USA..

Does ARRI RAW footage even work in Premiere Pro CC?

Does ARRI RAW footage even work in Premiere Pro CC? After importing, some footage just says "media pending", and some just appears as a black video. The interface is also extremely sticky. I am working on a current generation Mac Pro, so I don't think it can be performance issues.
The footage seems to work fine on my old PC in Premiere Pro CS6. I was wondering if CC lacks the ability to process ARRI RAW.
Thank you
- Tom

OK. Think I've got it now thanks to looking at the short keys and searching for "Full Screen". The upper left key is "`" which looks like a grave - a slightly angled single quote. But when I look at the "Application" setting for Toggle full screen it is set to "'" - a "normal" single quote. Sure enough, if I hit the normal single quote key the toggle works.
I have not been anywhere near the hotkeys and can't imagine why anything would change it from a grave key to a single quote - especially as they look almost identical on the screen. I'm guessing that Adobe changed this (maybe only for international users?)
Anyway I now know how to toggle full screen, although it makes the "Premiere" keyboard with its big purple key for "Toggle full screen" redundant. Does make me wonder what the shortcut key of "'" or CTRL + "'" gives that I'm presumably missing since it appears to have been remapped.

DNG in Smart Object RAW workflow?

I'm totally immersed in the Smart Object RAW workflow. I've been on the fence about using DNG as SO layers, but it suddenly dawned on me that, since you're building in raw layers, rather than having access to your original RAW files easily, that DNG becomes essential to ensure an archival process.
That is, if I have separate RAW files I can always, at some point, convert them to DNG. Once they're in the file as a SO, I'm hosed. (Yes, I can extract them, but I lose all my work in the TIFF.)
Is anyone out there slamming to DNG before working with a Smart Object RAW workflow? (Is anyone working in a SO workflow even? Sometimes I feel like the only one... heh)

Been requested since B2 or so. Still a wait.
Don
Don Ricklin, MacBook 1.83Ghz Duo 2 Core, Pentax *ist D
http://donricklin.blogspot.com/

Camera Raw Workflow options

HI
when i open jpag (or tiff) in camera raw Workflow options,
i have option to size image.
may question it's: if i choose the large size, what hapen to
may image - interpolation like in Ps?
thank

I don't know which algorithm Camera Raw uses ... but the result of the upsampling is virtually the same as Bicubic Smoother in Photoshop. Except for one thing: Camera Raw's upsampling will add tiny ringing artifacts to the result; Photoshop's won't. The artifacts are bright, horizontal or vertical, 1-pixel-wide lines along sharp, high-contrast edges. So for perfect results I recommend to convert the raw image to its native size in Camera Raw, then do the upsizing in Photoshop using the resampling method Bicubic Smoother. Before upsizing, apply some gentle source or capture sharpening.
However those ringing artifacts are really
i very
small; it takes a very close look at high magnification to notice. In most cases they'll go unnoticed. So you may decide not to care. However they tend to get emphasized by subsequent sharpening.
-- Olaf

RAW workflow questions - image degradation over several edits with 08?

I currently use Aperture to manage (and edit) my digital photo library. After reading about iphoto 08, the only major thing I can see preventing me from using it would be the RAW editing.
An example would be a photo taken in RAW format and edited in iPhoto. It is saved as a JPEG. Any future editing ontop of that jpeg and the image begins degrading as levels of compression are added ontop of it (I think).
In Aperture, the raw file is maintained and any editing to the RAW file becomes non-destructive as the RAW format is retained in "real time" (so to speak).
I know iPhoto also retains the original RAW file, but not the edited RAW file.
My question is this: with the great extra features of iPhoto (such as easier integration with .Mac) I am seriously considering a switch, but am concerned about image degradation. For all the semi-pro users, what is your RAW workflow in regards to iPhoto? Do you edit the file once, then when editing is required in the future just re-edit the JPEG or go back to the original RAW?
For any former Aperture users who switched to iPhoto, was it worth it?
Thanks!!

Terence,
Once again, thank you for a most helpful answer. I was wondering about the same issue. I guess this means that when you edit RAW files in iPhoto, it uses a similar approach than Aperture and Lightroom now. With far less options of course, but if you just doing basic editing of white balance and shadow/highlight, iPhoto is an appealing alternative.
If I understand correctly the Raw conversion is done at the system level, so iPhoto and APerture even use the same conversion engine, right?
Thank you
Bo

Adobe Camera Raw workflow question #2901

Now that I have my new digital camera-dedicated rig up and running I have been using ACR and CS2 to process my backlog of Canon 30D CR2 files. I am trying to get them ready for posting on the internet. Currently I am using ACR only to tweak Exposure and White Balance, then I move the file in 16 bits/AdobeRGB to CS2 where I do noise reduction, levels, curves adjustment, saturation then resize, sharpening then convert to an 8 bit, sRGB Jpg.
I have adopted this workflow because it was similar to the one I used when my old creakin' PC required me to use DPP to do my RAW conversion (and I subsequently did PP in CS with a 16 bit TIFF)
But I notice ACR has many choices and options such as contrast, shadows, saturation, sharpness, noise reduction controls that one can perform prior to RAW conversion. I have read in the past theoretical comments that adjustments are best made to a file during RAW conversion rather than while as a jpg. Does the same apply to a 16 BiT TIFF? In the workflow above, am I working on a TIFF?
I am wondering if I am better off to make all of the adjustments in ACR window instead of the more lengthy process in CS2. Are there any advantages to doing these adjustments prior to RAW conversion? Or is it better to do PP on 16 bit files using layers?
What are the relative merits of processing the file in either ACR window or as an 16 bit file in CS2?
If it matters, I work on a PC and prefer to PP each file separately rather than in batches. But I DO use batch runs in CS2 to save time using Actions with around 10 file batches to do noise reduction and resize/convert to sRGB/save as.
As always, thanks for the time you take to help me out!!

>"What does Pixelgenius PhotoKit Sharpener do that I can't do, perhaps with more trouble, by applying what I've read in his book? And would I have a problem trying to use it with CS3? "
I have a few observations and perhaps Jeff can comment. With images taken with a digital camera at high ISO, noise reduction may be necessary in the capture phase of sharpening. PhotoKit offers the sharpen and smooth option for this purpose. One can exert some control over the smoothing process by changing the opacity of the smoothing layer and the blend if sliders.
In his sharpening book Bruce uses Photoshop's reduce noise and despeckle filters to reduce noise (sometimes using the despeckle filter multiple times), but I don't know what filter is used in the PhotoKit smoothing operation or what parameters are used for the reduce noise filter if it is used.
If you use Bruce's book and the "roll your own" approach, you have more control over the noise reduction process and also the possibility of using a third party NR product such as the Noise Ninja plugin. Furthermore, just as an edge mask is used to restrict the sharpening to the edges, a surface mask may be used with NR to keep the smoothing away from the edges. The surface mask may be derived by inverting the edge mask used for sharpening, but Bruce says that some tweaking may give improved results.
An alternative would be to use the third party NR prior to using PK sharpener. However, you would still need to make a surface mask for optimum results, but I doubt that many users take the trouble of doing this.
In my own work with the Nikon D200 (which has rather high noise at high ISO), I find that I often get unacceptable noise and artifacts with PK Sharpener when used with high ISO images.
Also, many landscape photographers mask off areas of clear blue sky and foliage that do not need sharpening, thereby avoiding accentuation of noise secondary to sharpening in these areas.
>Bruce gave you the recipies...he didn't give you the exact numbers to use. So, you'll have to do what he and I did...trial and error, to arrive at optimum numbers...
For output sharpening, the PK defaults seem to work quite well and the trial and effort of rolling your own is usually not worthwhile, IMHO.

Raw Workflow PS CS3 and Camera Raw 4.5

Hello
I just started working with raw files, that's why I'm not sure about the best workflow with Camera Raw 4.5 and Photoshop CS3. My aim is to post process in raw 4.5. and in CS3 with as less quality loss as possible.
So when I finished the processing in raw 4.5 do I have to save it before I can continue working with the file in CS3 and in which format am I going to save it? If I save the raw file as psd, will I have quality loss? After post processing in CS3 what is the best format (for quality) to save it (there is no DNG possibility).
Thank you very much for your help!
Sarosa

You will probably get a lot of different answers your question because everyone has their own preferred workflow. Generally speaking, however, I think it is best to do as much of your postprocessing in Camera Raw as possible because it is nondestructive. You do not have to save your image to a different format before you start working on it in Photoshop. By clicking the Open button in Camera Raw, any changes that you have made are stored as metadata, and then the image along with all those changes is opened in Photoshop. Once you have the image in Photoshop you are now going to be editing the pixels of the image directly. And once those types of modifications have begun you cannot save the image as a raw image or a DNG file. It will be necessary to store it in a different format. I think good choices are either as PSD or TIF because either of these formats will save your work without doing any damage to the image data. From either one of those formats you can create JPEG or any other type of image that you need when required. JPEG images are saved with a type of compression that can, over time and through multiple saves causes your image to deteriorate.
In summary, you always have your raw images to go back to if necessary to start over. Use PSD or TIF to save your working files in Photoshop. And only create JPEG images from those PSD or TIF when they are required for the Web or for e-mail, etc..

Raw workflow in Aperture 3

I just switched to shooting raw. I'm trying to figure out how to export my raw files after I've tweaked them in Aperture 3. When I export masters, I get the raw version but not the changes. When I export versions, they're jpegs. I'd like to be able to export toned raw files. Is that possible?

lindseydeb wrote:
I am a wedding photographer so I have to put my files in several places for backup, I can't just leave them in Aperture. As it is now, I burn DVDS of all images shot before I edit and tone as well as back them up in a RAID system. I am just looking for a way to have finished versions of the photos in a format other than jpg stored in the same external hard drives.
The short answer is save 'em as 16 bit TIFF files.
But, with deepest respect, you still don't understand RAW and more importantly, you may have wasted your money on Aperture. For the workflow you are describing, you would be better off with Adobe Bridge and Photoshop Elements. And, I would submit, you are losing time and energy that you could use to shoot more weddings. There are a lot of folks on this forum who really "get" Aperture and would really like to help.
As noted by others, you need to read and understand the opening chapters of the Aperture manual, or better yet, find a copy of Ben Long's old book "Real World Aperture." You are looking at Aperture as a mere RAW "converter" and maybe a file browser - it is much, much more. Ben Long called Aperture an image "appliance" and he is right - imagine an automated library that holds all of your images, all the time, can find any one or group in an instant, and produce an endless stream of JPEGs, CDs, prints, or whatever you want. All the time keeping your old images future proofed - better RAW developer, all of your old images just got better.
In simplest terms, you DO want to leave all of your RAW images in Aperture. (You do want to back these data up using Time Machine, the Aperture Vault, and probably a clone program as well. I use SuperDuper! I keep thirty years of images and memories from some of the more difficult places on earth and I don't want to lose a single one. That is precisely why they are kept in Aperture and not scattered across a bunch of disks. And yes, my Time Machine runs on a RAID.
I can't see why you would insist on converting your nice 12/14 bit images to 8 bits for eternity. What happens when the bride comes back two years from now and wants new prints? And could she have them in B&W and cropped for 13x19, not 4x6. And then she asks if you have any images of one of the bridesmaids, the one you ignored. Faces to the rescue, in seconds.
It is your time and money, but you haven't yet realized how much power Aperture gives you and how much easier it is to use Aperture than to do what you are doing now. D.C. is a tough market, you owe it to yourself to use the best tools you can.
Best wishes!

Camera raw Workflow?

1.) Can you edit raw format files in Photoshop CS5 or do you have to do this in Camera Raw?
2.) Which edits should be done in Camera Raw before bringing the file into PhotoShop?
White balance, tonal range, contrast, color saturation, sharpening? What else?
3.) Is the idea of this workflow to perform the steps listed in #2 and then to do any of the retouching, such as healing brush, clone, etc. in Photoshop and then to sharpen the image in PhotoShop at the end?
Thanks.

Are you suggesting that Camera Ra is optimal place for adjustments for raw images or for images in general? Is it better to adjust jpgs in Camera Raw also?
What is the Capture Sharpening feature?
Thanks!

Camera Raw Workflow Settings - where?

Hi!
In Bruce Fraser's and Jeff Schewe's "Camera Raw with .. CS3", p 134, a dialogue box Workflow Options is shown. Likewise, Photoshop CS3 Help > Camera Raw > CR Settings > CR Workflow Options promises "You can see and change these Workflow settings at the bottom of the Camera Raw dialog box."
I wonder which dialog box the text is referring to. I can not see the Workflow dialog box at the bottom of the dialog box shown in Bridge > Camera Raw Preferences, nor in Bridge > Preferences, nor in Photoshop > Preferences, nor in Photoshop > Edit > Color Settings.
All the entrances on the Adobe site only lead me to the same PS Help document.
It would indeed be useful to be able to specify e.g the bit depth as a default, because the PS default seems to be 8 bit (PS > Image > Mode), so I have to remember to set it to 16 for every single image anew.
I use Mac 10.4.11 on a MacBook Pro, 2GHz processor, 2GB RAM , PS CS3, ACR 4.5
Thanks for help! Hening.

>Well, the save button is alongside the hyperlink (to it's left) and that opens a fresh panel to allow various options to be set, so I find the explanation advanced by the ACR Team bit hard to understand.
You running a display at 1024 x 768? Because that's Camera Raw's real estate minimum that HAS to be supported...so what you can do in a dialog whose display ends up at a much higher resolution is severely limited because of the minimum requirements. That's why...

IPhoto Raw Workflow

I have been experimenting with shooting in raw and am now trying to figure out how best to work with the files. I've always found iPhoto 11 to be sufficient for organizing my photo library (~50K images), while occasionally using Photoshop Elements to adjust or clean up specific images and create panoramas.
As I understand it, the raw file appears in iPhoto as both a raw file and a tiff that is used for display (in addition to the separate jpg created by the camera). When editing the raw file, it seems that the changes are saved in a tif that is *much* larger than the original (10mb ->100 mb). When I have tried to use Photoshop Elements to edit the raw files, there are more options for working with the file in ACR, but this process seems to create a second raw file on export (_2 appended to the filename) without incorporating the changes, thus requiring the resulting tif (or jpg) file to be re-imported into iPhoto (the resulting tif files do seem to be much smaller, however).
Working directly in iPhoto is much easier, but those large file sizes add up and my hard drive space is running low. Reimporting photos into iPhoto is cumbersome, but would seem to save space. Especially if I can then delete the duplicated raw file, which doesn't seem to have any purpose (as I understand it, I can always go back to the original if I want to try processing it differently). Is there another, better option for working with raw files than either of these imperfect solutions? I could rationalize the price of upgrading to Aperture *if* it would actually solve these problems, but I'm not sure I need if if it doesn't offer some demonstrable advantage.
Thanks for any advice.

As I understand it, the raw file appears in iPhoto as both a raw file and a tiff that is used for display (in addition to the separate jpg created by the camera).
No it doesn't.
If you import a Raw it's copied in and a jpeg preview made of it. There is no tiff involved. If you shoot Raw+Jpeg pairs then you get duplicates. Shooting Raw+Jpeg doesn’t make a whole lot of sense in this case.
When editing the raw file, it seems that the changes are saved in a tif that is *much* larger than the original
It's only saved as a tiff if you have chosen that option in the iPhoto -> Preferences -> Advanced. Otherwise it's saved as a Jpeg. A tiff - as it's uncompressed - will always be a lot larger. That's in the nature of tiffs.
When working with Raws and an external editor again there are no tiffs involved unless you choose there to be:
iPhoto does not handle this gracefully and it's a bit of a kludge.
First off set your preferred app as an external editor in iPhoto:
Note that iPhoto sends a copy+ of the file to Photoshop, so when you save be sure to use the Save command, not Save As... If you use Save As then you're creating a new file and iPhoto has no way of knowing about this new file. iPhoto is preserving your original anyway.
Next: In the iPhoto Preferences -> Advanced, elect to use Raw with your External editor:
Now when you go to edit the Raw it will be sent to your external editor.
Now for the kludge:
You cannot save a Raw. The work you do must be output to a new file, in a new format (jepg, tiff, whatever). However, as the External Editor is making this new file iPhoto has no knowledge of its existence. Therefore you must save it to the desktop and then import it back to iPhoto as a new file.
This means that you will have your Original Raw and the processed version in iPhoto but they will not be recognised as version and original. iPhoto will see them as two separate shots.
So, again, there are no tiffs anywhere in either workflow unless you choose to make them.

Why is the resolution stuck in the Camera Raw workflow dialogue box?

I cannot adjust the resolution in the workflow space in Camera Raw. It goes from 70 backwards to 1. The same situation exists in Image Size when I switch to Photoshop. Help!

Think I figured it out. I needed to open a copy of the image as the original had been saved at 72 . When I "saved as" I could change everything in Photoshop.
Thanks,
Alan
Sent from my iPad

IPhoto v7.x (iLife 08) RAW workflow

I'm looking for some opinions on a workflow here.
I have an Olympus E-510 and shoot in RAW. For my amateur needs, iPhoto's editing tools are sufficient and I like iPhoto's library characteristics. I import the Oly RAW files and then edit as needed which of course creates a jpeg. There are some pictures that I really don't care about keeping the RAW file as it considerably increases the size of the iPhoto library. I can of course right click on the particular photo and select show original file which shows the RAW file in the Finder, and of course can then delete the RAW file if so desired.
The problem (which I guess isn't really a problem, just kind of anal on my part) is that the edited (jpeg) picture in iPhoto still "points" to the original RAW file's location. I.e., you can right click on the jpeg and select show original file and it opens the folder in the finder where the original RAW file was. I've tried rebuilding the iPhoto library after deleting the RAW file but it makes no difference.
I could of course use another editing program first to edit the RAW image and save a high quality original size jpeg to import to iPhoto, but I kind of would like to keep everything to one application.
If there's no solution to this I simply need to make the decision to either keep the RAW files or ignore the jpeg thinking there is still an original RAW.
Just wondering if anyone else has considered this or has any opinion/suggestion.
Thanks,

Terry:
Deleting the RAW file as you've described is tantamount to committing the cardinal sin of iPhoto, messing with the contents of the library via the Finder. There's really no way to do what you want other than exporting those edited photos you want to keep to the desktop at full size and quality, import into iPhoto and delete the first copy of them.
Another possible workflow would be to upload the RAW files to a folder on the Desktop from the camera. Using a 3rd party editor create a folder of jpg files from the RAW, burn the RAW files to disk or another drive to store as digital negatives and import the folder of the jpgs.
Since iPhoto uses nondestructive editing you're always only one generation away from the originals jpg file. You won't get any significant image quality loss due to multiple edits.
Unless you use a 3rd party editor, like Photoshop, to edit the RAW files there's little advantage to using RAW in iPhoto. With an application like PS RAW files can be handled/edited far better than any other format but you need such an editor. Also, all edits are then saved to another format leaving the RAW untouched.
Since you're only using iPhoto for your editing needs just shoot jpg as that will eliminate several steps in your workflow and save lots of disk space.
Happy Holidays
TIP: For insurance against the iPhoto database corruption that many users have experienced I recommend making a backup copy of the Library6.iPhoto database file and keep it current. If problems crop up where iPhoto suddenly can't see any photos or thinks there are no photos in the library, replacing the working Library6.iPhoto file with the backup will often get the library back. By keeping it current I mean backup after each import and/or any serious editing or work on books, slideshows, calendars, cards, etc. That insures that if a problem pops up and you do need to replace the database file, you'll retain all those efforts. It doesn't take long to make the backup and it's good insurance.
I've created an Automator workflow application (requires Tiger), iPhoto dB File Backup, that will copy the selected Library6.iPhoto file from your iPhoto Library folder to the Pictures folder, replacing any previous version of it. It's compatible with iPhoto 08 libraries and Leopard. iPhoto does not have to be closed to run the application, just idle. You can download it at Toad's Cellar. Be sure to read the Read Me pdf file.

ARRI RAW WORKFLOW

Similar Messages

Maybe you are looking for