In this way, it’s quite ironic that Apple, the founder of ProRes, has a piece of professional software that’s quite limiting in that regard. If you’re shooting ProRes or raw footage, it’s only as good as the color you can get out of it. It’s what the industry uses to grade big films. ColorĪlthough you have great third-party plugins for Final Cut and Premiere Pro, DaVinci Resolve is the professional staple when color is concerned. What you do with it is add video, audio, text, and effects. You have a timeline, and that’s the focus. The only place where the media and effects come together is during the editing panel, which makes sense. DaVinci Resolve has dedicated panels for media, cutting, editing, color, and effects. Premiere Pro still makes it possible to do color changes while in the editing page, which essentially could deem it useless to switch between. In my opinion, DaVinci Resolve’s panels are the best for getting started and finishing a project. Premiere Pro and DaVinci Resolve have panels for each part of the video production workflow. It’s not needed all the time, but is useful when going through rushes or putting the rough cut together. In my opinion, the way DaVinci Resolve uses it is justified. DaVinci Resolve does have a magnetic timeline when cutting clips in the Cut panel and then goes into a free timeline in the Edit panel. It’s most likely the way Apple likes to have control of how you work with the application and footage, whereas Premiere Pro and DaVinci Resolve is much more open to your interpretation.įinal Cut’s magnetic timeline is quite troublesome for some, but also the main reason many use the application. You can change it, but the other two import media and keep it in its location by default. The application wants to import all the footage into the library by default, which essentially creates a duplicate of the footage. But, if you don’t make the needed changes before you start editing, your hard drive will fill up quickly. I would say that Final Cut doesn’t intimidate you as much as Premiere Pro or DaVinci Resolve does when opening it up for the first time. It’s quite impressive to think Final Cut is an Apple-produced piece of software, and DaVinci does this by itself. It’s done in the background if you didn’t uncheck the box during import.ĭaVinci Resolve also has this feature, and it is on par with Final Cut here. Proxies need to be generated, but once that’s done, it’s easy to flip between the raw footage and proxy footage in the timeline.įinal Cut does this almost automatically. Premiere Pro requires the most work before you can actually move around the timeline with ease. But, what differs is the speed at which it does this and if your computer can handle what you’ve given it to process. Media is imported, and it’s not hard to get started scrubbing through and moving clips into the position you want. Ease of Use SpeedĮach one of these has a timeline which you edit with. I also consider what each one of these brands stand for, from my personal perspective. It’s a fairly quick fix if you don’t need to make everything look perfect.Cost is also a factor, so it’s worth knowing what you’ll pay for in the long run, let’s say, for the next 10 years. It’s too aggressive by default so you’ll want to tone it down. Placing it above the Lumetri Color effect you should see it immediately smooth out your footage. To start de-noising, Camilo uses the VR De-Noise effect in the Immersive Video folder. This might be doable with just a basic LUT, too. Do some white balance and saturation as well. If you are working with log or flat footage you’ll want to do a basic correction at first, like your regular workflow. Anyway, it’s not total loss footage but needs a bit of work. On top of that, S-Log2 isn’t the cleanest profile to begin with if you have to start pushing the shadows – a great reminder that external monitors can help you catch these things on set. It may not be ideal to have to do this work in post, but it can save a shot you may have had to throw out otherwise.Ĭamilo messed up his shots by forgetting to remove the ND filter from his lens and not monitoring the ISO. One way to fix noise using Premiere Pro CC is laid out by filmmaker Camilo Castañeda. In any case, noise is far from a death sentence with modern editing software and you can actually clean up a fair bit in your average NLE. Other times it’s simply a stupid mistake where you forgot to tweak the settings of the camera before hitting record. Sometimes your hand is forced and your location or subject are not well lit meaning you need to push the gain/ISO. Noise is a pesky problem with modern digital video cameras.
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