Color ProRes 422 footage that was transcoded from BRAW

Hi all,

I edit videos on Premiere and I received a package of footage from a client–they're all .mov files, specifically ProRess 422. However, I can tell that these were BRAW files at one time, because they look extremely flat with dull colors, and the file names are similar to that which you'd expect from BRAW (i.e. A017,9300808_C054), except they're .mov instead of .braw.

I'm wondering if there's any way that I can save these files and color them correctly as they are, or if there's a way I can transcode them back to BRAW for coloring? Or some other solution? Do I need to have the client resend all the footage as the original BRAW in order to properly color them?

Please let me know if there's any other information you need from me to properly answer my question.

Thank you for your assistance!

Most Blackmagic cameras can record either BRAW or ProRes. ProRes can also be recorded with flat film log and will then look exactly like a BRAW clip. You cannot convert ProRes back to BRAW.

But you can use Blackmagic’s official LUTs to normalize the film log footage into rec.709.

They get installed with Davinci Resolve in its LUT folder.

You can also try using my free LUT for normalization:

LBK-BMD_Gen5_neutral_High-desat_v10

Get it in this thread:
viewtopic.php?f=2&t=151668

They could be Vlog from a Panasonic. That looks like a file name from my GH6 Panasonic and it can record Vlog to ProRes internal to its CFexpress card. I would try either a managed work flow and setting input colour space to Panasonic Vlog or use CST on colour page.

They could be Vlog from a Panasonic. That looks like a file name from my GH6 Panasonic and it can record Vlog to ProRes internal to its CFexpress card. I would try either a managed work flow and setting input colour space to Panasonic Vlog or use CST on colour page.

Chandler wrote he is using Premiere.

They could be Vlog from a Panasonic. That looks like a file name from my GH6 Panasonic and it can record Vlog to ProRes internal to its CFexpress card. I would try either a managed work flow and setting input colour space to Panasonic Vlog or use CST on colour page.

Chandler wrote he is using Premiere.

Yes I see now. Still likely a Panasonic Vlog file though. File format is exactly like my GH6. Premier must be able to edit Panasonic Vlog ?


Found this

I edit videos on Premiere and I received a package of footage from a client–they're all .mov files, specifically ProRess 422. However, I can tell that these were BRAW files at one time, because they look extremely flat with dull colors, and the file names are similar to that which you'd expect from BRAW (i.e. A017,9300808_C054), except they're .mov instead of .braw.

We get this stuff all the time from disorganized clients who will send us a flattened file of (say) a documentary or a reality show, and they basically have no clue what or where the material came from. We know the bulk of it was (for example) from a Sony FX3, but other stuff we have to be creative and just try different input CSTs from Canon or Panasonic. Eventually, we find. a combination that looks pleasing.

I can almost always get the contrast I want with a Custom Curve, but colorimetry (and Color Space) is trickier. Sometimes, if the DP is available, it helps to call them and ask. If they're not available, you just have to punt and do your best.

I'm wondering if there's any way that I can...color them correctly as they are

Yes.

Manual normalization is actually pretty easy in Premiere now. Use Contrast slider to expand the contrast, and Exposure slider to move the whole clip up or down a little bit so that expansion from 50IRE outward happens where you want it in the clip.

Do one, save the preset, dump on the rest in the bin.

Sent from my SM-S908U using Tapatalk