![]() ![]() Lastly, let's add some additional burn-ins to our HD and Proxy recordings. ![]() The proxy recording always get the same color as the sub recording. This gives us Log on the main and a baked-in Rec709 LUT on the sub. Under the Color menu, set the main recording to V-Log, and the sub recording to V-709. Now let's set up the color options for each recording. ![]() You cannot select ProRes as a sub recording option at this time, only AVC-Intra and an H.264 encoded MOV proxy. In the VariCam LT, you can only enable proxy recording here. I'll set the main recording to 4K 422, and the sub recording to 2K422 /Pxy this enables both 2K recording, as well as a proxy recording. The next step is to set up your main and sub recordings. To enable this, go to the Menu → Rec Settings pages, and set File Name Style to CINE. So for camera index A, reel 1, clip 1 the file would look something like A001C001_.mxf. This gives your files the standard naming convention found in ARRI, Sony, and RED cameras, which is camera index, reel count, and clip number. The first step is to set up the camera for recording with simple 'Cine' style file names. I'll also outline a basic finishing workflow with DaVinci Resolve and 4K V-log content. #HOW TO EXPORT IN DAVINCI RESOLVE 16 HOW TO#Below is an outline of how to set up both cameras for action, and steps for importing footage into Avid, Final Cut Pro X, and Premiere. This greatly simplifies the whole process and truly makes these cameras unique and powerful. In the latest firmware updates for both of these cameras, Panasonic has greatly improved the file naming conventions, allowing both the main (master) recording and sub (HD/Proxy) recording to have the same file name. ![]()
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