Dpx files premiere pro

You did mention color correcting the ProRes file in Resolve. Also, this is more of a general question about DPX files and something one probably needs to grasp in order to understand the significance of a DPX sequence or a negative scan in general, but what is inherent or integrated into a DPX file that makes it so suitable for color correction? I've seen a few stills of flat DPX scans, and I was surprised at the lack of contrast and color saturation, almost as if they had been over-exposed.

That said, what is it about a DPX file that allows you to pull good contrast, saturation, and an overall good image from an image that, on the surface, looks so lousy? There is nothing intrinsically different about DPX other than that it is uncompressed and it supports various film-industry metadata, but that may not be that relevant to you.

In practice they tend to be used for images stored with higher precision than something like a PNG file you'd find on the internet - storing an image a 10 bits per pixel, for instance, is common, and means that each of the RGB channels is stored with levels of brightness, rather than the of an 8-bit scan. This makes it practical to store much lower-contrast images. You'll put contrast back into them in the grade, but because there's finer encoding of luminance, you don't get ugly artifacts.

Of course this can become a circular issue, since you only had the low-con scan done because you had 10 bits available in the first place so Ultimately, you get more information to do more things with in the grade. The very low-con, odd-looking scans you describe may well have been logarithmically encoded. This is usually a luminance encoding that ensures each f-stop of exposure information occupies something like the same number of digital values. This is not how most displays expect the information to be supplied so the image looks extremely flat and washed-out.

Again, this is mainly useful with bit encoding, otherwise the large contrast corrections required to make it look normal on a normal display become problematic. Resolve supports various log encodings; liaise with the scanner people to ensure they're giving you something you can handle properly in the worst case scenario, you can often fix it by hand, but better not to.

The difference between high-res prores and DPX is likely to be vanishingly insignificant, especially if you're shooting 16mm to begin with. Prores is compressed, very much like a JPEG. But the prores compression is fairly light.

If you want to get a bit more techy, you can convert the DPX frames to prores quicktimes en masse using the free tool ffmpeg, and a commandline such as:. This will convert DPX files with names such as inputfile. Alter the filenames to suit. Adjust -r to a suitable framerate. Adjust -qscale up to maybe 13 if you need to save a bit of space.

This will give you Prores HQ. Or sometimes you just select the first image and check a box that says "image sequence" and it will bring the whole sequence and display it as one entry in your media browser.

Every other feature is available, including UHD output now. Just don't expect any customer support if you have trouble with it - they don't care if you're struggling with something you got for free. Last time I scanned S16 it was to FullHD , which was more than enough resolution given the lenses used maxed out at around pixels in sharpness superspeeds used around T1. But you can just as well use premiere nowdays. Are you scanning and storing them in Log or Linear? I did Log and then used the cineon-effect in After Effects premiere has it too and once finished editing just re-linked and graded in AE.

You are looking at around 1TB per hour of footage. Just transferring the scanned footage took a 24 hours and then it isn't backed up I've been reading this thread with great interest. Premiere Pro lets you work with a wide range of native media formats from the latest DSLR cameras without transcoding or file rewrapping. The media formats listed here are supported for directly importing and editing with Premiere Pro. The required codecs are built in to Premiere Pro, and supported on both Mac OS and Windows systems unless stated otherwise.

You can clip metadata without any transcoding, rewrapping, or logging and transferring required. This provides an easier starting point for grading. You can import and edit media from the following cameras directly, without rewrapping or transcoding:. You can browse the imported clips using the Media Browser and organize them using camera metadata.

To learn more about working directly with native camera formats, see this video tutorial. Premiere Pro supports growing files for those needing this workflow. Growing files are files that are still being written to disk and will grow in duration after they are ingested.

These files automatically refresh their duration based on a preference you can set in Premiere Pro. Support for growing files to automatically refresh, and how often they must refresh, is available in Media Preferences. The updated duration can be viewed in the Project panel and the Source Monitor.

The refreshed duration is also available for editing in the Timeline. See Media Preferences for more details. Growing files can only be imported if Premiere Pro can read the volume where they are stored. You can then edit with these clips as you would normally edit any other clip. Variable Frame Rate VFR is a video compression term that refers to the format of videos where the frame rate changes actively during video playback.

Everything you need to know about creating and customizing your own keyboard shortcuts to save time and energy while editing. This is the key to being a faster, more efficient, and overall better editor. Sharing my exact folder structures! The dreaded missing media 'red screen' happens to the best of us, so don't sweat it.

Lucky for us, Premiere Pro has made it fairly quick and simple to reconnect multiple files at once so you can get back to editing in no time. Learn exactly how to control the speed of your clips in Premiere Pro, as well as how to fix playback lag. I love having a pancake lens. It's my go-to around the house and travel lens. Here's my favorite and why. Email address:. Your email address will not be published.

Save my name, email, and website in this browser for the next time I comment. Share: Share. Hi, I'm Beth. I started Handcraft Films to give other filmmakers and photographers the gift of documenting their own stories for years to come. I hope you'll learn something new and share your creativity here.

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Home Privacy Policy About Blog. We use cookies on our website to give you the most relevant experience by remembering your preferences and repeat visits. Manage consent. Apple ProRes HQ files are considered a good master quality format for the average consumer. They will work with the latest version of iMovie as well. Download a small 3 second, 39MB example of typical 8mm film here.

Writing DVDs. MOV files can only be used on a Mac. You may want to consider getting a copy on a playable DVD in addition to the format you choose to edit from.

This way you archive the film and have a format you can edit.