6 thoughts on “Post-Production Workflow When Shooting RAW on the 50D (and other Canon cameras)”

  1. Everything seems to work fine in your workflow. I normally work whit high end cameras such alexa and red, and in my opinion prores444 is the right choice to preserve the maximum amount of information.
    But it looks like you can’t take take all the benefits of a raw file this way.
    I mean, a raw file is uncomp, but u’re supposed to have the opportunity to change all the values like color temp, sensitivity, gamma an so…edit a prores file whit a given gamma dosen’t limitate your choice? Why don’t try to ingest the dng footage into a software who can handle it natively (maybe such davinci resolve lite) and do an export only after you’ve done your choice? If this is not possible maybe the theory of export a prores whit a log curve (milky and unsaturated look) helps you to preserve the max data amount. Just need to find an apropriate conversion lut for timing your footage in the right color space…maybe! In the end this is just a QUESTION! 😉

    1. Marchese, You are touching on all the things I am wondering about. My current computer is too old to run DaVinci, but that is what I will likely use when I can upgrade. So yeah, in the meantime, your other suggestions are definitely things to experiment with!

  2. I often come back to your posts to remind myself of a starting place. I’ve gone the mlv route because I use Cinelog for LUT conversion, etc…BUT Cinelog is somewhat complicated, also a new workflow in AE. You have to love Andy 600! 🙂 Really the Resolve track is the way to head if possible, but my Nvidia card barely cuts it for Resolve and I do love AE. Also the proxy route works for some… if you have the time the proxy round trip is good but time-consuming. Here is a link for a quicker but less flexible route – convert to prorez from MLViewer and edit – http://www.cineticstudios.com/blog/2014/08/the-easy-way-to-use-magic-lantern-raw-straight-to-prores.html
    Cheers

  3. Hi everybody,
    First post here, great forum, thanks a lot ! One year I’m looking for the 50d with all its questions (which card, budget, workflow,…) and I really found here what I was looking for, so thanks again 😉
    I’ve bought the 50d one week ago and I should receive a Komputer Bay 64Go 1066x tomorrow (can’t wait…)
    With a few test of raw workflow (with a 600d) it appears that the simple way is:
    1- Conversion of mlv or raw files with Rawmagic (or another no-loose quality converter) in Pro Res 4444 I agree
    2- Editing with your favorite software
    3- Color grading and variables correction on Resolve. In fact Resolve is, in my opinion, the only real soft for raw correction. So powerfull tools like the tracker or masks give your shots a real professionnal look.
    4- Final corrections with additionnal plugins in your editing software (Noise reduction, SFX,…)

    I didn’t try the last version of Resolve, wich the one you can apparently natively import Magic Lantern raw and mlv.
    That would make the workflow easier again !

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