I WAS WRONG! A Better Way To Color Grade ProRes Raw CDNGs | Resolve 18
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- Опубліковано 16 лип 2023
- Working with Cinema DNG (CDNG) in DaVinci Resolve has always been complicated. Even with Resolve 18, the convolutedness hasn't disappeared. In this video, I am going to show you one of the best Color Management Settings I was recently shown, when it comes to Cinema DNG in DaVinci Resolve with Resolves Color Management Engine.
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Shoutout to Derek for putting me onto this method! Let me know if you have any questions down below!
Awesome! Thanks for the shoutout. This is a good way to achieve better function with DNG's within DR. Would love to sit down with you online sometime for an hour and chat further about the method.
@@TheSanjaySathian you’re right with most raw clips, however, CineDNG works differently. Try it yourself. Try using automatic color management then set the input color space. This doesn’t affect other raw clips in the timeline just CDNG. Node based is going to be limiting l.
@@TheSanjaySathian I also showed you how changing the input color space yielded different results….
@@TheSanjaySathian OK never mind then don’t believe with your eyes just saw I don’t have time to argue with you about this. CinemaDNG is not a raw video file. It’s a series of still pictures. I read the manual. I mentioned the manual in the video did you half to watch it?
@@TheSanjaySathian I literally showed you me doing it the video with different result. If you don’t believe with your eyes are saying I cannot help you.
This is awesome Sid!!!! Thank you for sharing this! S/O to your boy, D too! I love that our community passes along knowledge! 🖥🖱⌨️❤️🩷🧡💛💚💙🩵💜🖤🩶🤍🤎
holy crap....this just made a WORLD of a difference grading my ProRes RAW to CDNG footage. I just tried this out just now and myyyyyyyyy god
Bro you just help me bring so much life and color accuracy to my films . I mean I don’t even have to do much grading ! It be looking good right out the camera on the timeline!! Thank you bro!
Thanks for the update am still trying to fathom properly the former tutorial on proRes raw grading am grateful this is simplified
After researching for days finally you answered! love you man. Thank you so much!
I am blessed of finding you! Simply a master 🙏🙏
Hey Sidney,
I love this tutorial, thanks very much for the upload.
I want to ask you a question, probably personal taste, but I found myself wondering about this since couple of days now.
What if you totally disregard DaVinci coloring methods, transcode your ProRes RAW to CinemaDNG let's say Lossless, and you import your sequence to Adobe Camera Raw plugin (Photoshop). You apply your settings and export them one by one to a folder, coming back to DaVinci you import them as sequence. I know this may sound old fashioned, BUT, since Adobe Camera Raw 16.0 introduce HDR, you can color your images in HDR P3 or HDR BT.2020 and export them in AVIF or JPEG XL to keep the it in HDR. My understanding is, you can import these files to DaVinci without issues, and get pre-graded HDR content.
My question is, would you think you can achieve better results, color reproduction, highlights recovery, and then BT.2020 Export via the old fashioned Adobe Camera Raw converter coloring method?
Thanks!
This was amazing
Hi Sidney....foremost, thank you for providing an invaluable service. I enjoy your content. Secondly, I am trying to migrate from Premiere to DaVinci Resolve. I have an entire project that has become impossible for me go edit in Premiere, and I am looking to switch to Resolve. The bulk of my footage is recorded using Pro Res Raw, and I would like to convert the entire project (as edited) into DNG using Play Pro Studio.
Thus, my question is: is there a way to achieve this conversion using Play Pro Studio or any other converter? I have already edited 75% of my project in Premiere Pro, and would just like to have that edit converted into DNG so that my footage can be recognized by Davinci Resolve. Any work arounds that you can suggest is greatly appreciated.
Thanks,
A Frustrated Producer/Editor
Hey this is amazing! But what do you do if you’ve already edited an entire sequence timeline in Premier of ProRes Raw footage and need to bring it into Da Vinci with an XML or something? (aka my problem, haha) thanks!
did you find a solution for that other than doing it manually?
If you're working with a mixture of footage (SLOG3 and Cinema DNG) - What do you need to do with the SLOG footage to match the CDNG files? Do you apply a CST and convert it to the project settings or are you able to just convert it to rec709? BTW I am still learning Davinci... I made the switch a few months back and still feel like everyday I learn something new.
You can right click on the Clips thumbnail on the color page. After you right click on it, you will see input color, space, and then you change it to whatever you shot that footage in.
@@sidneybakergreen Gotcha. Thanks man! Super helpful
Thanx!
my color space and gamma is still greyed out after I followed your instructions... what could I be doing wrong? Thank
It should be. They're being ignored anyways
Love these tips, been using the settings to grade ronin 4d footage, ill make sure to switch these settings in resolve. Curious if using these settings now with filmconvert would you still recommend sigma camera profile or Arri?
Use color space transforms to set up the input for FilmConvert properly, and then use color space transforms to go back to your timeline color space
@@sidneybakergreen can you make a video about that with this settings included. I am a begineer. Thanks.
@@matildafilmscom Do you mean exposure settings?
@@sidneybakergreen I am figured out I guess. I watched a lot of videos and confused a lot between everyones workflow preferences. Finally I am confused more then before :D and gave up thinking about it. I am shooting with sigma fp with cinemadng files. Thank you for your interest and for your beautiful helpful content.
The latest Assimilate Play Pro correctly stores metadata from a Panasonic camera when shooting RAW, then Color Space and Gamma dropdowns in Davinci (Camera Raw tab) will have PANASONIC V-GAMUT and PANASONIC V-LOG, allowing more precise results, even shooting SONY, still easy to set to PANASONIC in Assimilate and get the same results, S-LOG-3 and V-Log are almost the same.
These results are exactly the same as when you monitor. Having access to different color spaces isn’t going to have much affect outside of Dynamic Range. Color Spaces and Gamma does not equal color science. They’re almost the same because data is data and you can put it into any color space and get almost the same results.
Thank you! Any video how you bulid your own node tree?
I actually have that video coming up in the pipeline sometime this month
@@sidneybakergreen awesome! Thx!
This is so odd. I have you project settings, but in the Camera Raw tab when I change to "Decode Using Clip" the color space changes to Rec 709 and the Gamma to sRGB
But how’s your result? That’s that’s my main concern. I have ways I can trick that setting into being BMD film and it the result stays the same.
I’m happy with the result. I don’t ‘think’ it changes anything. How do you trick the settings ?
@@terryalexander4783 I definitely see a change between the amount of dynamic range. You retain a lot more throughout the entire scene versus using other methods. That being said, it’s not about tricking the settings with respect to the camera tab because your data isn’t in any of those profiles anyway. That’s just how resolve is going to debayer them for you to view in your graphical user interface. That being said, BMD film has limited dynamic range until we get into the newer Gens 4/5. You’re going to have much better skin tones and much better. Dynamic range throughout the entire image and much more play without having to do so many drastic changes in the camera tab to get a decent starting point before you go into your node tree. But if you like other methods then go for those.
Brotha can you recommend where to get LUTS from that work with this transformation
I don’t generally use luts but resolves filmluts can be used by using a CST to go from the timeline color space to Cineon Film Log / rec709 then using the rec 709 film lut in a following node then after that node going from rec 709 back to timeline color space DaVinci wide gamut /intermediate
@@sidneybakergreen I can’t understand that lol I will try tho
how would you do this in a node based editing workflow? I hate making changes in camera raw tab, ESPECIALLY, when working with 100s of shots.
For the color management, or the grade? Because you'll still have to change settings in camera raw tab for node based color management to get the best color. Also copying and pasting stills paste the camera raw settings as well.
@@sidneybakergreen Thanks for replying! I guess im looking for a solution on how to color manage this via nodes. Would you still input CIE in a CST? I am only seeing Blackmagic in camera raw tab.
@@MountUpMedia well, you really shouldn’t have to change anything in the camera raw tab with this method. Unless you want to make an adjustment there
@@MountUpMedia if you do it node based you'd want to change the settings in camera raw to linear and p3 and then use csts to convert it into a wide gamut and then into 709 or whatever you out but to.
@@sidneybakergreen it’s not giving me that option in davinci tho! If I don’t touch the camera raw settings, it’s encoding into an already converted Rec 709 space.
How did you transcode In first place?
Raw Convertor Link in Description
Protecting the highlights: do you mean avoid exposing "to the right" like advocated in some other places ?
If you’re in a situation where you need to do so, then you do so with caution. There’s a point where no matter how hard you try you just won’t be able to recover. So if you’re in false color monitoring in PQ, and you’re starting to see Red you’ve gone too far. Give your self some room knowing those shadows are most likely there. You’d rather have noise you can clean up than highlights you can’t get back.
Got it. Thank you.@@sidneybakergreen
Does this apply to N-Raw?
No sir, however you can still place Nraw and PRR in the same color management. Because NRAW is optimized for resolve you’ll be fine. Just did some grades on the Z8 with a mixed timeline.
But if you just have NRAW you can use resolves color management in automatic mode if you’d like 🫡
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