KIneMini 4K workflow with After Effect and/or Premiere Pro
August 24, 2015 at 8:37 pm #800
I have been reading up about the work flow with the KineMini and I am lost on the proper way to go about the post process.
I shot UHD in KineLog with the CinemaDNG codec and in the source folder where all the DNG frames are, I see the following files:
Left and Right audio files,
BMP preview file.
Now, when I import the DNG sequence into After Effects, the Camera Raw 8.0 window pops up where I can adjust the color and all of that. I left it at its default, and clicked okay, but the color of the footage is definitely not the KineLog color that I shot in. I am guessing that I have to apply the KineLog file that is located in the source folder, but not sure.
Should I apply the KineLog File? if so, how would I go about doing that? If not, How would I get the the color right? Am I even doing this the proper way to begin with? And What does the other files I listed above mean? (except from the audio files).
Any help on this topic, I would appreciate.
Thank you!September 5, 2015 at 9:21 pm #1208
No one with any assistance? 😯 damn.
Thanks anyway.September 6, 2015 at 7:04 pm #1209
The ACR(Adobe Camera Raw) workflow has limited LUT support, so only if you shoot DNG directly from the camera will you have similar results to the PP(picture profile) from what you saw in the camera… So if you shoot KRW it seems that the Metadata does not transfer over to the DNG, so what you will get is a standard PP from ACR. But if you know any basics about colour it wont matter, as the information that you have there is RAW data that you can swing in any direction that you please(ACR is amazing, just sucks that its meant for photos and not video.)
The only ways that you can have the same image that you got from the camera is to either use SCRATCH player(recently has support for even KRW) or Davici Resolve… these are the two main programs that handle DNG’s with ease, but they still have their own way of translating the data.
Personally if I were you, I would convert all of your KRW files to CineForm or recently added Prores, as this would alleviate the high pressure and time consuming workflow of Resolve and Scratch, and only if you have a shot that really needs recovery you would transcode the KRW to DNG, Bring it into ACR and recover the highlights and shadows and export as flat of an image as you can and throw it back into your timeline and colour it to match in whatever NLE your working in(personally I love the new colour suite in Premiere)
As to the files that are in the video bin:
You definitely have an older firmware but the Cube and kineLOGs are LUT files referenced for the colour suite or NLE and the BMP is a thumbnail showing the in camera LUT.
Once you download the new Firmware you may benefit from a colour workflow that I have found quite accurate, as the new KineLOG V2 has a different science than the previous version and needs different attention:
So the Purpose of a LUT if to get you close enough in the right direction so you don’t make a muck out of the image, especially if your not familiar with working with LOG footage.
My workflow with KINELOG V2:
1-Transcode to Cineform/Prores and import into Premiere
2-open up the Colour workspace(Alt+Shift+3 PC)
3-in the “Basic Correction” choose for the Input LUT- “ALEXA_Default_LogC2Rec709” or the next alexa one after that, you can try a few depending on what your shot needs, but those usually will get you to a natural colour.
I would not recommend using the “KC_NEUTRAL” which Kinefinity provides (way too saturated.)
Let me know if you have any more questions.
AspireJune 30, 2017 at 9:19 am #1210
I recommend iDealshare VideoGo whch can import 4K video to all versions of After Effects.September 14, 2017 at 2:24 am #1211
You can import LUts into the built-in Lumetri Color plugin in AE and Premiere, as well as Resolve. I haven’t tried it yet, but it might be worth having a go pulling in the LUTs that you get from your footage.
You must be logged in to reply to this topic.