I’m a little confused. In a colour managed workflow you have access to all the log data in the grade, as it is essentially doing the CST in the background. You can set Resolve to interpret each camera based on its correct log profile and the colour management will covert to Rev 709 in the background while retaining access to all the data available.
@@AndrewMurphyFilms Fair, so does a colour management workflow make it difficult to match cameras since you can't transfer from log to log or does the colour management workflow not essentially have a similar function by aligning all log curves depending on the camera to rec709.
It's more so, if you want to be able to choose the colour space and gamma from a drop down menu. Imagine if you just got given raw footage and you had no idea what the colour space or gamma was, at least this way you get a list of options to choose from. If you know all the correct settings then colour space transform is a much easier process. Or like you said, just set it up in the backend to process it all for you.
@@AndrewMurphyFilms Totally, one thing I like about Canon and Sony tho is that the metadata can be extracted with their tools like catalyst browse and canon's raw tools and mxf tools. So unless it' mp4s you should be able to read back the meta data with the manufacturers tools.
I’m using DR on iPad and my R5c shooting raw. The first steps when I input video into timeline it automatically changes the color save and gamma but under DECODE quality I don’t see full res canon. Just use project settings, full res half res quarter res. Under that menus too color space, gamma and iso are greyed out. And under gamma it does say log 3 NOT 2.
Under timeline setting however, I can have timeline color space selected as canon cinema gamut/canon log 2. I follow your steps and do get a Really Nice REC.709 baseline color adjustments that looks pleasing.
Thank you for this. I finally did the firmware update last night on the C70 and have been playing around with RAW. Curiously, my NinjaV is set up for Raw now too, but throws a warning "not Raw input" when I record. Still learning, but your channel has been a great resource on several occasions, thanks!
Aw man, this video of yours helped me so much! I used a Canon R5's Log 3 AND DaVinci Resolve for the first time, and didn't know how to edit colors at all.... then I came across with your video and boom, problem solved! Thank you for this!
Hi
In davanci camera raw main page setting is disable. How I enable that
have you gotten a fix for this?
Working in a similar color space doesn't mean the colors match. This is what ACES is used for....
I’m a little confused. In a colour managed workflow you have access to all the log data in the grade, as it is essentially doing the CST in the background. You can set Resolve to interpret each camera based on its correct log profile and the colour management will covert to Rev 709 in the background while retaining access to all the data available.
Yes, this is just showing how to unlock the panel so you can get access to the rest of the settings in the colour page.
@@AndrewMurphyFilms Fair, so does a colour management workflow make it difficult to match cameras since you can't transfer from log to log or does the colour management workflow not essentially have a similar function by aligning all log curves depending on the camera to rec709.
It's more so, if you want to be able to choose the colour space and gamma from a drop down menu. Imagine if you just got given raw footage and you had no idea what the colour space or gamma was, at least this way you get a list of options to choose from.
If you know all the correct settings then colour space transform is a much easier process. Or like you said, just set it up in the backend to process it all for you.
@@AndrewMurphyFilms Totally, one thing I like about Canon and Sony tho is that the metadata can be extracted with their tools like catalyst browse and canon's raw tools and mxf tools. So unless it' mp4s you should be able to read back the meta data with the manufacturers tools.
I’m using DR on iPad and my R5c shooting raw. The first steps when I input video into timeline it automatically changes the color save and gamma but under DECODE quality I don’t see full res canon. Just use project settings, full res half res quarter res. Under that menus too color space, gamma and iso are greyed out. And under gamma it does say log 3 NOT 2.
Under timeline setting however, I can have timeline color space selected as canon cinema gamut/canon log 2. I follow your steps and do get a Really Nice REC.709 baseline color adjustments that looks pleasing.
Thank you for this. I finally did the firmware update last night on the C70 and have been playing around with RAW. Curiously, my NinjaV is set up for Raw now too, but throws a warning "not Raw input" when I record. Still learning, but your channel has been a great resource on several occasions, thanks!
Glad it helped! So the Canon C70 only does internal RAW, it can't output raw via the HDMI cable unfortunately.
Aw man, this video of yours helped me so much! I used a Canon R5's Log 3 AND DaVinci Resolve for the first time, and didn't know how to edit colors at all.... then I came across with your video and boom, problem solved! Thank you for this!
Help! I drag my raw footage file from my ninja v and all it shows is the audio. What am I doing wrong?
How do you get the sliders in camera raw settings? I just have as number input box and less options
good video, trying to work out i have r6 mark ii footage in 4k c log 3 and cant access the camera raw stuff all greyed
Thanks mate! Can only do raw via external recorder with the R6 Mkii
Thank you bro!
p͎r͎o͎m͎o͎s͎m͎ 🏃