I use and even teach Baselight in media Composer and its stable on my 2020 PC versions (I have it on a desktop and a laptop) and normally my students will be using on 20 or so iMacs. And it works fine.

So you may have a system issue or a configue issue but if you'd paid for the baselight plugin you'd take that up with Filmlight surely? They have great support and would wnat to get you sorted.

If you convert to Log it won't look correct unless you have your output monitor converting LOG to rec.709 (or whatever colourspace you are working to)

And thousands are getting it to work fine. I work in RAW formats and understand how to make my Avid pipeline work. I also mess around with Resolve and like that as well but Resolve can't make DPP AS-11 files so isn't suitable for my broadcast needs.

Being a professional trainner I work with clients who value paid for training. training thats bespoke to their workflows and equipment. And thnakfully professional people find it better value to pay for what they need to increase their knowledge.

There is a new plugin from Mainconcept for AS-11 in Davinci Resolve. It is still in beta and has some crucial elements missing, such as parts timeline span marker equivalent, but now does export a XML sidecar.

According to this:

"I made two videos about this. Essentially what is happening is that the footage is HDR by default and your NLE clips it to 709 causing it to look overexposed. You have to either convert it to SDR or my favorite, LOG."

https://www.reddit.com/r/S1h/comments/i9wdka/prores_raw_overexposed_image_question/

That's actually incorrect as I've been working with Victor from Baselight. There are 5 major bugs/crashes in which I have discovered with him.

Regarding ProRes Raw. It will not even open inside Baselight for Avid version 5.2 and beta 5.3. It's a hard crash. You are either lying or have some magic system that can open ProRes Raw. 

Hi Alexander,

Alexander Corcoran:

You are either lying or ...

Everyone here is a professional editor trying to help each other. There's no need to accuse each other of lying.

Alexander Corcoran:

That's actually incorrect as I've been working with Victor from Baselight. There are 5 major bugs/crashes in which I have discovered with him.

 

Regarding ProRes Raw. It will not even open inside Baselight for Avid version 5.2 and beta 5.3. It's a hard crash. You are either lying or have some magic system that can open ProRes Raw. 

 

Please read my initial post that said I'd not had an oppertunity to use ProRes Raw. 

My last post related to using Raw media and there are other Raw formats that I use without issue. 

But it seems you have confirmed with Film light that this is a Baselight bug. 

So presumably Baselight will resolve this. 

Alexander Corcoran:

That's actually incorrect as I've been working with Victor from Baselight. There are 5 major bugs/crashes in which I have discovered with him.

 

Regarding ProRes Raw. It will not even open inside Baselight for Avid version 5.2 and beta 5.3. It's a hard crash. You are either lying or have some magic system that can open ProRes Raw. 

 

He's not lying, he linked to a very reasonable explanation, which in your case is at least worth exploring. It seems pefectly logical to me that if the S1H shoots HDR by default that could be a cause of what you're seeing. It is no surprise you are finding difficulties with Avid support if your attitude here is anything to go by - I can understand frustration but if I invest heavily in a new workflow that isn't there yet, I work through it patiently with support before I give up.

Your issues with Baselight are rightly taken up with them, and then going back to Avid support constructively to liase. You mention Davinci Resolve, which I use too extensively but on Windows there is no Pro Res or Pro Res Raw support at all and their support comprises users forums - I have many BMD products. You can see all the people there who jumped on brand new Apple M1 and are demanding it work like high end workstations because they are addicted to the Apple coolade and bought those consumer macs before ever BMD had a DVR version.

Pro Res Raw is very new too and despite what Panasonic say, there may be problems in their suggested workflow - it seems that FCPX and Premiere users are experiencing the same issues - are you talking to them (Panasonic) too?

In any case it seems you are new to Avid - many of us have been working with Avid professionally for decades, both offline and finishing for broadcast and cinemas. Here in the UK it represents over 95% of of all post. 1000s upon thousands of pros work with it every day to deliver high end content, without major issue. So before you condemn Avid in the court of Corcoran, and since FCPX and Premiere may be in the dock too, I would be more measured in your investigations.

I grade, post and finish audio in Resolve Studio but have Symphony too for roundtrip and final delivery - have you tried that as opposed to Baselight?

I'm going to handle some ProRes RAW footage from a BM camera in the next few days and will report back here about the outcome. In my experience Avid is slow in developing new features, but when they come out with something new You can be sure it's well done. It sounds weird to me that they sold ProRes RAW support if the feature wasn't ready for prime time. Moreover, gaming videocards and AMD cpus can be source of troubles, don't know if this applies to the OP's setup.

Alexander Corcoran:

You are either lying or have some magic system that can open ProRes Raw.

If that's a reference to my post, they're not my words but a link to a discussion on this issue by those using Premiere and FCPX that are having the same issue. I thought it would be worth exploring as one of the posters has made a couple of videos about it.

Just trying to help - like everyone else is.🙂

luca.mg:

I'm going to handle some ProRes RAW footage from a BM camera in the next few days and will report back here about the outcome. 

Luca, which BM camera shoots in Pro Res Raw? Don't you mean BRaw? 

Mercer:

luca.mg:

I'm going to handle some ProRes RAW footage from a BM camera in the next few days and will report back here about the outcome. 

Luca, which BM camera shoots in Pro Res Raw? Don't you mean BRaw? 

Juast spoke with the producer of a feature film shot on BM and he told me he wants to see the daylies, when I asked him what the file format is he told me ProRes RAW. I do not know more than this, and given the fact he's not a technician by all means he could very well be wrong.

luca.mg:

Juast spoke with the producer of a feature film shot on BM and he told me he wants to see the daylies, when I asked him what the file format is he told me ProRes RAW. I do not know more than this, and given the fact he's not a technician by all means he could very well be wrong.

To be fair he could be using an Atomos Ninja.

After installing the BM AMA plugin I could successfully link the footage, tinker with the source settings, and transcode to DNxHR.

Hi Alexander,

i am also a lumix s1h owner and like you interested in editing and color workflow for raw prores

the main difference is that I started editing with avid from version 2.8 and unfortunately I stopped at 6 peche 'I have been doing other things for years! I started working again in the last unfortunate year as a videomaker, using Davinci Resolve, to do everything ... finding the best system for color, not the same for editing, I was always missing something ..... now that I have picked up again Avid Media Composer .... I remember what ...

I had the same problem as you, and I fully understand why you couldn't orient yourself! Avid is the most customizable system ever, and depending on the combinations of settings you choose the results change a lot .... many settings are not very visible at times .... and users who come from other systems are not happy. ...

Now if you link a raw prores clip and choose source settings from the bin or from the source monitor, the settings window opens, where Linear / Rec 2020 video levels are assigned relative to the color space

Avid applies the transformation that you can see by default, which is partly not correct and partly must be integrated with other changes that I explain to you

First of all, even if the ProRes codec has always been within the video limits, Lumix records in full space both in log and in raw so the source must be set Linear full range! At this point, however, absolutely nothing is resolved, however the transformation that this mask applies does not take into account or does not correctly interpret the conversion! The lumix S1H but all the machines that record in RAW fore record up to 3500 nits, the conversion that is applied from Linear to rec 709 cuts everything that is above 1000, and your highs will be burned

Now the approach to the solution of this problem is related to the type of workflow you have in mind, if your idea is to assemble and then export an AAF to be imported into Assimilate Scratch and then run the Color the most suitable method. quick, even if not correct, is to remove all color transformations and set Linear to Sony S-Log 3

To which you can then add a lut varicam 35 for example ... but not the conversion one because it is useless for the prerequisites of this method, to have a pleasant view during editing