![]() Then, using these files I went into Adobe Premiere and edited the crap out of all my takes, getting to what I think would be the “final cut”. At this point, I didn’t need the DNGs, just the proxies, for editing. Then you set the DNG folder and the proxies folder. If I shot a clip, there’s a chance it will be useful, so I end up converting all of them into proxies right off the bat.Īfter you install everything, load MLV Converter and navigate to the folder with your MLV files. Well, I don’t care about thumbnails because I’m not shooting randomly. For my workflow, the DNGs were not the final files, so they end up deleted anyway.ģ – IrfanView and its plugins – MLV Converter needs IrfanView to generate the thumbnails and help you deciding which clips should be converted and which ones should be skipped. These can be imported directly into DaVinci Resolve and Adobe Premiere, for a faster editing workflow if you don’t want any proxies in your way. Very little compression, and follow whatever you have on the screen for exposure and white balance.ī) the output DNG files are regular DNGs and not Cinema DNGs (more on this right below)Ĭ) accessing the program’s functions is a bit confusing and I kept going back to the download source to check what were the commands I needed.Ģ – Adobe Cinema DNG Converter (8.7) – As said above, with this installed, MLV Converter will convert your MLV files into Cinema DNGs. At first, I was using it as my only step of the process, but there are some problems like:Ī) the QuickTime files are HUGE. MLV RawViewer already offers you conversion to DNG or proxy QuickTimes, and some other tools. Only works with MLV files, as the name says, and has some nice controls for Exposure and Whitebalance. You’ll need MLV Converter (v1.9.2 at this time) and the Converter requires a few things to be installed first.ġ – MLV RawViewer (1.3.3) – This is a quick playback software that doesn’t require installing and reads raw files real quick. Now, there’s a lot of installing before we can take our files forward. It works better with the following steps. I always get rid of their own folders and keep just the files in a single folder per card. Now you’ll have huge MLV files in the card, that you need to drop into your hard drive. In ML’s menus, pick the MLV format because it allows you to record audio along with the pictures. ![]() Since it was written in 2013, the steps are a bit outdated, so here’s a 2015 version of it.įirst off, shoot your plates using the latest version of MagicLantern (for the 5D3, the latest version was August 27th, 2014). While looking for decent information on this process, I came across this workflow at which is quite interesting since it gets rid of the DNGs while keeping all the data. ![]() This time, I wanted the increase in dynamic range from shooting RAW, but lighter files and less back and forth between conversions and small adjustments. Also, processing power was a must during color correction because each DNG file requires debayering before rendering, so, the final render took me some days. The results were terrific, but I can’t say it was easy dealing with the huge amount of files and their versions. For my previous project (Zona SSP), we shot RAW, thanks to MagicLantern, using Canon’s 50D and 5D3. This post has been sitting in the drafts folder for long before I shot, but since it was just recently that I was able to go through the workflow that I can really explain how things work.
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