This shows you the differences between two versions of the page.
Both sides previous revision Previous revision Next revision | Previous revision | ||
postproduction:start [2014/07/26 01:03] 92.225.47.54 [Postproduction] |
postproduction:start [2014/10/06 16:33] (current) 84.191.156.53 [Conversion Workflows] |
||
---|---|---|---|
Line 19: | Line 19: | ||
Recording RAW images in general means that the image of the sensor is read out without any camera-internal manipulation. Each of the Images is stored as a single (lossless compressed) DNG Image file which contains the image data plus the Camera Settings you used during shooting - but only as meta data. So if you set a White Balance while shooting in Raw-Mode, this is not directly applied in-camera but will be in the process of "developing" the digital negative. The advantage of raw files is a 12-Bit Color depth compared to 10-Bit in Prores, the disadvantage is a huge volumes of data being recorded. This means that you need a very fast SD-Card and the according setup to transfer, store and backup this data. | Recording RAW images in general means that the image of the sensor is read out without any camera-internal manipulation. Each of the Images is stored as a single (lossless compressed) DNG Image file which contains the image data plus the Camera Settings you used during shooting - but only as meta data. So if you set a White Balance while shooting in Raw-Mode, this is not directly applied in-camera but will be in the process of "developing" the digital negative. The advantage of raw files is a 12-Bit Color depth compared to 10-Bit in Prores, the disadvantage is a huge volumes of data being recorded. This means that you need a very fast SD-Card and the according setup to transfer, store and backup this data. | ||
- | =====Conversion Scripts===== | + | ===== Conversion Workflows ===== |
- | Does not work with RAW Source Material. | + | We also have a section on open source tools for video and audio conversion and manipulation, with some scripts that might be useful for your workflow: [[postproduction:FFMpegConversionWorkflows|FFMpeg Conversion Workflows]] |
- | + | ||
- | **ffmpeg denoise script for BMPCC** | + | |
- | + | ||
- | *Work in Progress* | + | |
- | + | ||
- | Inspired by: http://www.personal-view.com/talks/discussion/10637/4k-downscaling-progress-topic | + | |
- | + | ||
- | <code bash> ffmpeg -i "$1" \ | + | |
- | -filter:v hqdn3d=4.0:3.0:6.0:4.5 | + | |
- | -sws_dither none \ | + | |
- | -q 0 -quant_mat hq \ | + | |
- | -c:v prores_ks -profile:v 2 \ | + | |
- | -c:a copy \ | + | |
- | -c:s null \ | + | |
- | -map 0 \ | + | |
- | -map -0:2 \ | + | |
- | "$1_2k_ProRes4444.mov" | + | |
- | </code> | + |