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Please select your Country or Territory. Australia Austria Brazil Canada China Denmark Finland France Germany Hong Kong SAR, China India Italy Japan Korea Mexico Netherlands New Zealand Norway Portugal Russia Singapore South Africa Spain Sweden Chinese Taipei Turkey UAE United Kingdom United States. We’re delighted to let you know that high-performance support for Blackmagic RAW is now available in Premiere Pro. The new plugin is available with Blackmagic RAW 1.5. Download the plugin here: Blackmagic RAW 1.5 Thanks,Sumeet. Black Magic, the creators of the BM Cinema Camera, have released a series of DNG image sequences in conjunction with opening a new forum to share and discuss working with their products. The Blackmagic RAW Player icon will be displayed instead. Thumbnails that were generated previously and still in your Thumbnail cache will still be displayed! Some files cannot be imported into Adobe Premiere Pro, Media Encoder and After Effects; both using BRAW Studio or using the Blackmagic Premiere Pro plugin.

One of the big benefits of the Blackmagic cameras is their ability to shoot raw – lossless Cinema DNG files that capture an incredible range of detail. But encoding those files into a useable format for editing can be tricky, especially if your computer won’t run the processor-intensive DaVinci Resolve which ships with the camera.

You can usually turn to the Adobe Creative Suite when faced with intractable transcoding problems, and sure enough After Effects provides one solution for raw to ProRes conversion.

I’ll take you through it, step by step. Let’s assume you’ve been shooting on a Blackmagic Cinema Camera and you have some 2.5K raw shots which you want to drop into your edit timeline alongside 1080P ProRes 422HQ material.

1. In After Effects’ launch window, select New Composition. A dialogue box will appear in which you can spec up your project. For this example, we’re going to choose the standard HDTV resolution of 1920×1080. It’s critical that you get your frame rate right, or your audio won’t sync. Click OK once you’ve set everything to your liking.

2. Now go to the File menu and select Import > File. Navigate to the raw material on your hard drive. The BMCC creates a folder for each raw clip, containing the individual Cinema DNG frames and a WAV audio file. Select the first DNG file in the folder and ensure that Camera Raw Sequence is ticked, then click OK.

3. You’ll then have the chance to do a basic grade on the shot – though with only the first frame to judge it by.

4. Use Import > File again to import the WAV audio file.

5. Your project bin should now contain the DNG sequence – shown as a single item – along with the WAV audio and the composition. Drag the DNG sequence into the main viewer window. Because the BMCC’s raw mode records at a resolution of 2.5K and you set your composition to 1080P, the image will appear cropped.

6. If necessary, zoom out (using the drop-down menu in the bottom left of the Composition window) so you can see the wireframe of the 2.5K image. Then click and drag the bottom right corner of that wireframe to shrink the image until it fits into the 1080P frame. Hold down shift while dragging to maintain the aspect ratio.

7. Drag the WAV audio onto the timeline, taking care to align it precisely with the video.

8. Go to Composition Settings in the Composition menu and alter the duration of the composition to match the duration of the clip (which you can see by clicking the DNG sequence in the project bin).

9. Go to the Composition menu again and select Add to Render Queue. The composition timeline will give way to the Render Queue tab.

10. Next to the words Output Module in the Render Queue, you’ll see a clickable Lossless setting (yellow and underlined). Click this to open the Output Module Settings.

11. In the Video Output section, click on Format Options… We’re going to pick ProRes 422 HQ, to match with the non-raw shots we hypothetically filmed. Click OK to close the Format Options.

12. You should now be back in Output Module Settings. Before clicking OK to close this, be sure to tick the Audio Output box to make sure you don’t end up with a mute clip. You should not need to change the default output settings of 48kHz 16-bit stereo PCM.

13. In the Render Queue tab, next to the words Output to you’ll see a clickable filename – the default is Comp1.mov. Click on this to bring up a file selector and choose where to save your ProRes file.

14. Click Render (top far right of the Render Queue tab). Now just sit back and wait for your computer to crunch the numbers.

I’ve never used After Effects before, so there are probably ways to streamline this process which I’m unaware of. Can anyone out there suggest any improvements to this workflow? Is it possible to automate a batch?

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The 12-bit uncompressed CinemaDNG 2.5K RAW files the BMCC shoots are a pleasure to grade. Getting the files into a format you can easily edit however, is not so straight forward. Adobe Premiere Pro CC can handle the CinemaDNG files natively, but even then, most systems (expect maybe those with a $2k+ RAID setup) will struggle with playback, scrubbing, ect. One is faced with two basic options when handling the RAW files off the BMCC: 1) Color grade in Camera RAW/After Effects or DaVinci Resolve and render out high quality DNxHD/ProRes 422/444 files to edit in your NLE of choice or 2) Make use of low quality proxy files to cut your project in your NLE and utilize XML files to grade/link to original RAW files. If you are delivering 1080p content, option #1 might not be bad as the DNxHD files you render out should be similar in size/compression to the files the BMCC shoots when in ProRes/DNxHD mode. If you are using Camera RAW/After Effects as a first step, you better invest in LOTS of coffee, as rendering times are painfully slow. After lots of testing, I have found the use of low quality proxy files and a DaVinci Resolve to Premiere CS6/FCP round trip workflow to be the most effective option by far.
Step 1-
Create a new project in DaVinci Resolve with custom size of 2400 x 1350, matching the frame rate to that of your footage. Import original RAW CinemaDNG files into DaVinci Resolve media pool.
Step 2-
In the “Color” tab, apply a basic grade to give the footage a look you are comfortable editing with. I like to start in the Camera RAW tab, set the color space/gamma to BMD film, and adjust exposure/color temperature/tint. I then go to the 3-Way Color Wheel controls in the “Color Wheels” tab to adjust the shadows/mids/highlights. Remember, we’ll be producing proxy files to edit in this step, so you’ll have a chance to complete your final color grade when we come back into Resolve.
Step 3-
Now it’s time to export your proxies. In the “Deliver” tab of Resolve, start out with the “Export to Final Cut Pro” preset under your easy setup options. As far as the output options, I like to work with 2400 x 1350 files, but the goal here is to export proxy files that your NLE can easily handle. Remember, we’ll be using an XML export to link back to the original CinemaRAW files in Resolve. These proxy files are just for cutting. As far as codec goes, if you want 2K files, none of the DNxHD flavors (I’m on a PC) will give you a full 2400 x 1350 output file. I like the Quicktime H.264 option with compression quality set to low/least and be sure you set your frame rate to match your footage. I like to render the files to new sub folder named “Proxies,” that’s housed within my project folder. Under “Output Options,” make sure “Render each clip with a unique filename” is left un-checked. Add the job to your queue and start the render. These proxy files should render out quickly, so don’t go too far!
Step 4-
Now it’s time to cut your project in Adobe Premiere CS6 or Final Cut Pro. Open a new project with settings to match your rendered proxies. Import the proxy files, compose your final edit, and add your basic transitions. Once your project is cut and ready to color, save the project and export the sequence as a Final Cut Pro XML file.
Step 5-
Here comes the magic. While we’ve been working with nice small files for our edit, we are now going to import our XML file and Resolve will re-link to our original RAW files for the final color grade. In the “Conform” tab of resolve, import the XML file you just exported out of Premiere CS6/Final Cut Pro. In the dialog box that pops up, be sure and deselect “Automatically import source clips into media pool.” This will ensure the media is re-linked to the original RAW CinemaDNG files. You should see your final edit on the timeline, along with your basic transitions. At this point you should complete your final color grade, and save your project.
Step 6-
Some projects may be complete at this point, but I like to roundtrip back into Premiere Pro CS6 to add graphics, intros, and recompose any shots that may need tweaked. Head over to the deliver tab and bring up the “Final Cut Pro XML Round-Trip” pre-select under the easy setup tab. If you are going to want to bring a 2K project back into Premiere CS6, you’ll want to go with an uncompressed codec to maintain the full resolution. The DNxHD options will produce beautiful, crisp 1080p files, so go with what you need. I like to render these final graded shots to a sub folder within my project called “Final CC” or similar. Under output options, make sure “Force sizing to highest quality” and “Force debayer res to highest quality” are both checked. Render the files, then head back to the “Conform” tab and export the final graded project as an XML file.
Step 7-
In Premiere CS6, import the XML file you exported from DaVinci Resolve. CS6 will ask you to locate the media; select your graded files and Premiere will create a new bin/folder with your final clips and a new timeline. Double click the timeline to create a new sequence within your project. At this point, apply your graphics, titles, and bring your audio mix back in (if you didn’t render audio out from Resolve). With everything in place, save your project and render out for final delivery.

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