At the Bench: Canon C200 Cinema RAW Light Workflow (Part 1)

[@johngriffin87]

Hello! I realize that I'm about 5+ years late to the party, but I just discovered this video in working with my recently acquired c200. All of the methods that I'm seeing to transcode the Canon RAW Lite files to something much smaller and workable -- while not reducing them down to HD -- are proving to be VERY slow and laborious. I'm on a Mac Studio M1 Max with 32gb of RAM. So far I've tried the download version of Resolve and the most recent Canon RAW Development app as well as the FCP plug-in. All of them seem to take at least 5x the length of the file to transcode, so a 1 minute clip takes about 5 minutes to transcode. I don't want to necessarily work with massive files that bloat my projects and system. If there are any newer suggestions to consider, I'm all ears. Thx.

[@Dieje]

I haven't tested this myself but try Apple Compressor or Adobe Media Encoder

[@tyfihi7901]

Thank you! Extremely helpful.

[@yuidfbse]

I apologize in advance if my question is stupid, but I really don't know the answer and there lies my true ignorance on the matter. I recently bought a new C200 and have a noob question as it's the first time that I shoot in Light Raw format. So my question is, when transcoding the original Light Raw files from the C200 into another format for easier editing such as ProRes or 10 bit 4:2:2, are the actual properties of the Raw file lost (aka it's ability of high-latitude color grading and correction) or is the file still kept as an actual Raw with the same properties of the original file even though the size becomes much smaller after the transcoding? Thanks again for the info :)

[@DreamlikePictures]

Hey thanks - but can you now expand this to show how c200 RAWS are now handled better i think in the latest release of Premiere compared to what is exposed in Resolve currently? Thanks for your stuff - it really helps

[@AbelCine_official]

Thanks for the comment! This is just Part 1, so we'll be working on some future blogs covering Premiere and other updated tools for working with RAW files from the C200.

[@DreamlikePictures]

Thanks - this was exactly how we were doing it but now i seem to get everything but sharpness inside the Premiere 'master' clip setting...Premiere only seems to render/Debayer with the CPU so exports seem quite a bit slower than Resolve at the moment.

[@thogan]

I use a Windows 10 PC so CRD does not have the option for ProRes files. I am not familiar with DPX and in CRD it seems to take one CRM file and create numerous DPX files and separate audio files. What is the workflow for putting these numerous DPX files and separate audio files back together in Resolve? Please explain DPX files and how to work with them.

[@AbelCine_official]

Hi, thanks for watching and apologies for the late reply -- DPX files are a frame sequence, also known as a 'framestack', and are comprised of one 'still' file per frame of video. They happen to be DaVinci Resolve's legacy native format, since the output of a film scanner for coloring in Resolve during the era of the Digital Intermediate was generally 10- or 12-bit Log Cineon DPX stacks. A sequentially numbered folder of DPX files should appear as a single clip in the Media Page in Resolve and can be imported and manipulated similar to other clips. They can also be handled this way in Adobe After Effects. If you'd rather not work with frame sequences, you can import the clip into Resolve, for example, and 'transcode' to a single compressed or un-compressed video in codecs such as CineForm, Avid DNx or whatever typical video file format you use on Windows.