![]() But in the end, we're still going to color in Resolve. We use Blackmagic RAW because it's compatible no matter where we edit (Premiere, FCPX, or Avid). This all fit within a single 4TB Samsung T7 drive that we plugged straight into the Blackmagic Video Assist. Over five days of shooting, we shot more than 30 separate multi-camera interviews, shooting hours and hours of footage. Blackmagic RAW files are a good bit smaller than ProRes files. ![]() If you're using ARRIRAW in Rec709 color space as a source, the media will now be fully color managed.īut it’s more than that. To find the new color management settings for ARRIRAW, all you have to do is navigate to the Interpret Footage > Color pathway, and, in the Color Settings panel, you can now automatically detect Log C Media Color Space to override the color space or apply an Input LUT.You can also read about the new workflow features here on Adobe’s site. Also, ARRIRAW will now be able to playback in real-time and should look as incredible as you would expect, so that editors and cinematographers can get back to editing and grading. This new version 23.6 should make the ARRIRAW workflow experience more easy-to-use and flexible than ever before as it improves format support and GPU acceleration. Since adding ARRIRAW support just about a year ago, Adobe has been working behind the scenes to improve the workflow and experience for those looking to work with ARRI’s famous format. The crux of this new update centers around this new optimized workflow with ARRIRAW.
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