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I have searched the forums for a good stop motion workflow, but still have some questions hoping to get some help.
I've shot a stop motion project on a 5DMKII, all images are raw .cr2 files. I want to be able to bring in sequences and edit in Premiere Pro, once I have picture lock I want to send a high quality file to my colorist so that he can achieve the final look using resolve.
I shot raw because I want to maintain flexibility while editing and doing color, but I do not want to do any initial color correction while importing the files.
So far this is the workflow I have:
1- Import the raw files to AE to create sequences
2- Export sequences from AE to .mov files to start editing in Premiere -
QUESTIONS:
-What codec should I use for this export to maintain the flexibility of the raw images?
- Aside from the codec, are there any specific settings I should use to export the sequence to have a high bit rate file.
3- Export the picture lock to a ProRes 444 for color correction in Resolve
Any suggestions to this workflow would be much appreciated, thanks in advance!
In general I try to keep the whole project workflow to as few generations of encoding as possible. When we do stop-motion our workflow process is as follows:
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You could try DNG sequences of float TIFFs, but generally Raw-CoDecs are a capture-only thing. That's the whole point, after all - they are raw sensor data. That being said, I don't see how it would be relevant for editing. Your deliverables will end up in another format, anyway, and there's no harm in using proxy/ intermediate workflows and replace footage in the project, via AAF or traditional EDLs. Maybe you are overthinking that, even more so since you are going to need some baseline develop/ color correction settings one way or the other to have a reference. You can't just had off stuff to other co-workers without giving them an idea of what you expect the colors to be by ways of a Lumetri preset, LUT, color profile or a "neutral" reference clip/ image. latest when you start working on effects this will become critical. I think you have a flaw in your thinking there.
Mylenium
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Thanks Mylenium​ for your answer, It's probably my lack of experience with a stop motion workflow... but I'm a bit confused about the workflow you are suggesting. Do you mind explaining it in steps?
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In general I try to keep the whole project workflow to as few generations of encoding as possible. When we do stop-motion our workflow process is as follows:
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foughtthelaw​ thank you so much for your answer! I totally agree with you, that is the workflow I was looking for. I have a few questions If you don't mind providing some guidance.
I shot using DragonFrame, so I do have jpeg proxies.
"use the jpg proxies to create ProRes LT edit proxies" - Should I do this in AE, Pr, or it doesn't matter.
"convert the Raw to DNG" Do you mean converting the raw .cr2 files to DNG files? do you do this in AE, Pr, Ps or Camera Raw?
"edit with the proxies, then re-link to the raw files when the edit is locked." If I create ProRes LT using the Jpegs and edit on those in Pr, then how do I exactly relink the media to the raw files?
My colorist is using Resolve, so once I have the locked edit, do I just export a ProRes 4444 for him to color?
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I convert to ProRes LT using Media Encoder. It's pretty simple to make a ProResLT preset in there.
raw to DNG can be done a few ways but I tend to use this: Digital Negative (DNG), Adobe DNG Converter | Adobe Photoshop CC
there may be more official/prefered methods for re-linking media but typically what I do is as follows
you should be able to work in resolve with the DNG files as is so no need to render to prores. I'd ask your colors what they prefer first though.
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I know this is an old post but it's still so helpful to have a model on which to base my stop-motion workflow. Even though now Resolve is compatible with Canon and Nikon RAW, Sony's isn't and I'm a bit hesitant to go the Resolve route (as opposed to Lightroom/After Effects) because I would have to convert the propietary Raw to DNG. How much flexibility is lost, really?