Correction: At 3:05 I said "Half Speed" when I meant to say "Half Size".
This video shows the workflow for processing RAW and CinemaDNG files in Premiere Pro and After Effects. Premiere Pro doesn't support most camera RAW formats or CinemaDNG files. Instead, we can use Ginger HDR to do this. You simply create a GNR file (which is a text file that says where the data is), and then load that GNR file directly into Premiere Pro.
You can also use the same workflow for After Effects. After Effects supports RAW and CinemaDNG files, but the processing is quite slow. Also, let's say that you have a project with 100 clips. Let's pretend that 95 of the clips are fine, but the other 5 need some extra post work inside After Effects. If you use the Ginger HDR importer in Premiere Pro and the default RAW importer inside After Effects then you will have a fun time trying to get the colors to match. So you will probably want to use the Ginger HDR importer for both.
For CinemaDNG files, you will also see that the Ginger HDR importer tends to be darker than the After Effects importer. That happens because the Ginger HDR importer ignores ISO. In many (all?) CinemaDNG cameras ISO is "just metadata". That means that changing ISO has absolutely no effect on what the sensor records. Rather ISO is just a hint the that viewer should brighten the image. When you load those CineamDNG files in After Effects it brightens the file accordingly.
Ginger HDR has a different philosophy. If you are sophisticated enough to shoot and process RAW files, then you are also sophisticated enough to do a levels operation. In our view, the primary benefit of shooting RAW is to capture as much dynamic range as possible and it doesn't make sense for the importer to clip that range by several stops. Ginger HDR is designed to give you a "neutral" linear image that shows the full dynamic range captured by the sensor.
Finally, the source CinemaDNG files from John Brawley are here:
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