You'll get better results if you set the Camera raw settings to Linear & P3 and change the color space and gamma in the first CST. Also set Tone mapping to none in the first cst, oh and dont forget highlight recovery :)
Thanks for that suggestion man! I haven't tried working with linear and P3, but I hear that's a popular workflow for EOS M footage, so I'll definitely need to check that out!
Thanks so much Sergio!! You're videos have been super helpful and inspiring for me in my filmmaking journey! Thanks for all your contributions to the Magic Lantern community!
For those who want to de-squeeze at the clip level outside the timeline can do it via the clip attributes. Under Video > Pixel Aspect ratio, select "Custom" and type in 3.
Well interesting BUT as you recorded using crop mood, that in the best option is 14 bit lossless once you convert your MLV to DNG YOU DON'T do any better rendering to uncompressed since the footage was made in Lossless, only has more weight but with the lossless codec.
There is one suboptimal and one real flawed suggestion in the workflow proposed here: [1] suboptimal: the suggestion to export uncompressed DNG from MLV App. Better choose "lossless DNG" because, as the name says, it compresses without any data loss/loss of image quality (just like a zip or PNG file), with the added benefit of using about half the storage space and disk speed, and thus playing back faster in Resolve. It's the same difference as saving an uncompressed TIFF vs. an LZW-compressed TIFF. [2] mistake: The suggestion to interpret the important DNG in Resolve as Rec709/sRGB and then do a color transform to a larger color space and wider gamma. This doesn't work - because you can't transform a smaller gamut into a larger gamut, just as you can't meaningfully upsample 16bit audio to 24bit. Instead, you need to interpret raw, in Resolve's Raw tab or the project settings for Raw/CinemaDNG, in the wider gamma and gamut, for example Blackmagic Design Film, and do your Color Space Transform from there [at the very end of your node tree] to Rec709 or sRGB.
Thanks so much for your comment on this. I'm always looking at how to improve my color workflow. I haven't done a ton of extensive testing between exporting lossless and uncompressed DNG out of MLV app, but I'll give lossless a try the next time I'm working with MLV files. When you say interpret RAW, using resolve's RAW tab, are you referencing what I'm doing at 4:41? Or am I missing a step somewhere? Also, a step I missed showing in this video is that in my project settings I have my timeline color space set to davinci wide gamut so that after my first CST I'm in the correct color space to work in. This is a workflow that I've seen many other colorists and magic lantern users employ. Again, thanks for the feedback. I'm always looking to improve and grow in all my filmmaking skills.
You'll get better results if you set the Camera raw settings to Linear & P3 and change the color space and gamma in the first CST. Also set Tone mapping to none in the first cst, oh and dont forget highlight recovery :)
Thanks for that suggestion man! I haven't tried working with linear and P3, but I hear that's a popular workflow for EOS M footage, so I'll definitely need to check that out!
Great video, and thank you for your mention. Let's let people know the magic of Magic Lantern. 👏👏👏
Thanks so much Sergio!! You're videos have been super helpful and inspiring for me in my filmmaking journey! Thanks for all your contributions to the Magic Lantern community!
For those who want to de-squeeze at the clip level outside the timeline can do it via the clip attributes.
Under Video > Pixel Aspect ratio, select "Custom" and type in 3.
Great help thanks.
Well interesting BUT as you recorded using crop mood, that in the best option is 14 bit lossless
once you convert your MLV to DNG YOU DON'T do any better rendering to uncompressed since
the footage was made in Lossless, only has more weight but with the lossless codec.
this is great and very helpful, subbed
Great and helpful video, thank you!
You're welcome! Glad it was helpful!
That's great! Unfortunately for me my old Nvidia cards aren't powerful enough for Cinema DNG :-( so I will stick with the Sony S log workflow :-)
There is one suboptimal and one real flawed suggestion in the workflow proposed here:
[1] suboptimal: the suggestion to export uncompressed DNG from MLV App. Better choose "lossless DNG" because, as the name says, it compresses without any data loss/loss of image quality (just like a zip or PNG file), with the added benefit of using about half the storage space and disk speed, and thus playing back faster in Resolve. It's the same difference as saving an uncompressed TIFF vs. an LZW-compressed TIFF.
[2] mistake: The suggestion to interpret the important DNG in Resolve as Rec709/sRGB and then do a color transform to a larger color space and wider gamma. This doesn't work - because you can't transform a smaller gamut into a larger gamut, just as you can't meaningfully upsample 16bit audio to 24bit. Instead, you need to interpret raw, in Resolve's Raw tab or the project settings for Raw/CinemaDNG, in the wider gamma and gamut, for example Blackmagic Design Film, and do your Color Space Transform from there [at the very end of your node tree] to Rec709 or sRGB.
Thanks so much for your comment on this. I'm always looking at how to improve my color workflow. I haven't done a ton of extensive testing between exporting lossless and uncompressed DNG out of MLV app, but I'll give lossless a try the next time I'm working with MLV files.
When you say interpret RAW, using resolve's RAW tab, are you referencing what I'm doing at 4:41? Or am I missing a step somewhere? Also, a step I missed showing in this video is that in my project settings I have my timeline color space set to davinci wide gamut so that after my first CST I'm in the correct color space to work in. This is a workflow that I've seen many other colorists and magic lantern users employ.
Again, thanks for the feedback. I'm always looking to improve and grow in all my filmmaking skills.
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