Raw & Log Video Production Workflows

Course details

Capturing video in raw or log tells the camera to record more values from a scene—meaning you'll be able to recover more from your highlights and shadows and adjust more colors and tones in post-production. Granted, the files sizes will be bigger, and working with these file types can be a bit intimidating, but the additional adjustment options afforded to you by working in log or raw often makes capturing in any other mode a thing of the past.

In this course, join Rich Harrington as he shows you how to record video in raw and log, process the files, and complete a post-production workflow. First, Rich explains the reasons why raw and log files can be beneficial to use. Then, he shows you how to configure camera settings and start recording, monitoring along the way. Next, he covers the file transfer process so you can get the videos ready for post. Finally, he takes you through post-production editing workflows using Adobe Premiere Pro CC, Final Cut Pro X, and DaVinci Resolve. Additionally, Rich shows you some manipulation tricks.

Learning objectives
Recording options for log and raw
Acquiring video in raw formats
Configuring cameras to recording in log or raw
Monitoring log recordings
Following typical camera workflows
Getting ready for post
Using raw and log files in Premiere and After Effects
Using raw and log files in Final Cut Pro X
Using raw and log files in DaVinci Resolve
Managing and manipulating lookup tables

Concepts

0. Introduction

01 - Meet your instructors
02 - What you should know before watching this course
03 - Using the exercise files

1. An Evolution in Acquisition

04 - Log and raw vs. regular video
05 - What is log recording
06 - Understanding different flavors of log
07 - Beware of fake log
08 - What is raw video recording
09 - Can I record video in both log and raw

2. Related Terms to Understand

10 - What is a lookup table (LUT)
11 - What is bit depth
12 - What is dynamic range
13 - What impact does compression have on recording

3. Key Recording Options for Acquisition of Raw and Log

14 - Recording video in-camera or with an external recorder
15 - Choosing the correct media type for recording
16 - Recording with a reference chart and slate information

4. Monitoring Log

17 - Applying a preview LUT in camera
18 - Applying a LUT in monitor
19 - Applying an Input LUT in your NLE
20 - The role of a DIT on a professional set

5. Typical Camera Workflows

21 - Sony recording workflow
22 - Canon recording workflow
23 - Blackmagic recording workflow
24 - Panasonic workflow

6. Getting Ready for Post

25 - Working native or transcoded
26 - Storage requirements
27 - Lookup table workflows
28 - Raw development strategies

7. Adobe Premiere Pro CC and After Effects CC Workflows

29 - Ingesting raw and log material in Premiere Pro
30 - Creating proxy files in Premiere Pro
31 - Applying and adjusting Input LUTs in Premiere Pro
32 - Adjusting source settings on raw files
33 - An overview of adjusting color and exposure in Premiere Pro
34 - Moving raw and log material to After Effects
35 - Applying a LUT in After Effects

8. Final Cut Pro X Workflow

36 - Ingesting raw and log material in Final Cut Pro X
37 - Creating proxy files in Final Cut Pro X
38 - Applying and adjusting input LUTs in Final Cut Pro X
39 - An overview of adjusting color and exposure in Final Cut Pro X

9. DaVinci Resolve Workflow

40 - Ingesting footage and using Resolve Color Management
41 - Creating optimized media files in Resolve
42 - Applying and adjusting LUTs in Resolve
43 - An overview of adjusting color and exposure in Resolve

10. Managing and Manipulating Lookup Tables

44 - Importing and exporting a LUT in Premiere Pro
45 - Importing and exporting a LUT in Final Cut Pro X
46 - Importing and exporting a LUT in Resolve
47 - Manipulating LUTs with Lattice

Conclusion

48 - Next steps