The other thing to note about Resolve, is that it can be aware of the log curve of manufacturers. So when you make an exposure adjustment, it behaves nature, a lot like how raw is processed. Raw would have access to more dynamic range typically, but still, working in a color managed workflow in Resolve and being colour space aware, the hdr panel exposure adjustment behaves just like adjusting your exposure would in the day. Makes lumetri look like a toy by comparison.
Thank you for your EXCELLENT video! You’re the ONLY PERSON on UA-cam who points out this WEAKNESS of Premiere Pro. From what you say, I’m 100% sure the burden is on Adobe, NOT Canon. It’s because you’ve demonstrated Davinci Resolve allows you to disable the lens distortion correction of Canon lenses. Canon does not provide Black Magic a plug-in to do that! This is ANOTHER REASON why I will NOT USE Premiere Pro beside others such as: subscription, sky-high cost, and frequent crashes. Long live Davinci Resolve!
Thanks for your guidance over the years. Trying to give back here, switch to Resolve. I used AP for 20 years, got fed up. Asked a simple question, “what do the pros use”? Davinci Resolve. Switched. Never looked back. So much happier.
Resolve is definitely what the pros use for color grading but Pr is the industry standard for commercial editing (at least in my market), with Avid dominating features. All production companies I work for are Adobe-based. Resolve does seem to be the best option for content creators, I'm glad it's treating you well!
Great video! One note for 6:50, the reason this is happening is because you're applying the Lumetri exposure and white balance corrections after applying the Rec709 Lut. If you add those corrections to a Lumetri effect and put it before the Rec709, the exposure will reduce the proper way. I tested it on my FX3 with Prores Raw, so this might not be an identical comparison. But it's also important to mention, even though Lumetri recovered the exposure properly (when using the method above), it still looks slightly different than if you were to change exposure through the raw settings. I wish Premiere had more robust coloring tools, it's becoming increasingly annoying and outdated overtime.
Go to know. I'd never need to turn off lens correction. The RF24-105 2.8 lives on one of my C70's. I only shoot in RAW LT and you're right. WB and Exposure are the only save the shot options needed. All else is look. Great channel.
he does it again👏👏👏 bro doesn't miss. next time though I want to hear some of the Canon customer service call on speaker phone but disguise the person's voice with the pitched down darth vader voice. also when the C70 course promo ends I would like it to reveal that you were playing the slap bass part the whole time.
This is fascinating. I'm just getting into the Davinci Ecosystem and it's cool to see this level of granularity supported at the import stage, even if I'm not at the point where this will be relevant to me just yet. Great work as usual
I posted a comment with a bunch of Canon links, might be worth reviewing since they aren't spam. But to simplify what I found. Canon provides an SDK to approved developers to create their own debayering process natively. It's how Premiere can read the raw files and so can Resolve. So it would be up to Adobe to add the code needed to access all the available metadata. If you ever decide to just start editing in Resolve, feel free to reach out for help! I love cutting craw directly in app, especially if it needs a noise reduction pass, Resolve is just so much smoother overall in my experience.
The flip/flop back and forth between Adobe and Canon reminds me of when I called Sony and Atomos when the 4k DCI 24P firmware update came out for the FX3 and FX30. The Atomos Ninja V would not recognize 4k DCI 24p RAW Output from the HDMI. The screen was just white and fuzzy. I called atomos and told them what was going on and the conversation was exactly like yours with Adobe and Canon. "Oh, Sony hasn't given us anything on our end to make 4k DCI work". Then I went to the internet and people said no, it was a Sony problem. So I called Sony and they said "RAW Output works on 4k DCI 24p" and I told them "Well, its not on the Atomos Ninja V." And they said they didn't test it with the Ninja V and that Atomos would have to update their product to work. Like OK LMFAO which is it!? Well turns out I later on got an answer haha, it infact WAS Atomos that needed to know how to read the 4k DCI 24p for RAW (It worked for ProRes HQ, just not RAW) and with Atomos 11...it fixed it. HAHA just made me laugh the back and forth companies are like that. "The burden is on Canon to make the plugin." "No, its on Adobe to make the plugin!" LOL guys...collaborate with each other...PLEASE! XD I do find this SOOO weird thou that even Canons native RAW software doesnt even have an option for lens distortion...but Davinci does? Its almost like Davinci really reverse engineered Canons RAW to see where the metadata is stored for lens correction and gave you the option to remove it. So odd to me
If you ever get your hands on an R5C I'd love to see how you make it match your Clog2 C70 grades. I've yet to find my ideal workflow for Raw ST on mine.
That's all you need with the C70 is more crop lol. All of my RF glass is pretty much useless on the C70 and I don't have the speed booster or EF lenses.
I'm using premiere Pro to edit Canon RAW files and similar to long GOP It really chokes up the editor. Even when I'm using proxies it's extremely slow and choppy. For the most part I shoot in XF AVC all intra because long GOP chokes up my i-9 14 900K and 4090 computer build
Why would any serious shooter/editor… Use Premier pro. Premier pro is a joke in every possible way compared to resolve. I used Premier pro for 10 years and it was fine in its day. But now that we have resolve… You can stick with your Ford focus I’ll stick with my Tesla. as I tell everyone challenge yourself and learn resolve… Eventually you’ll be thrilled that you did.
The other thing to note about Resolve, is that it can be aware of the log curve of manufacturers. So when you make an exposure adjustment, it behaves nature, a lot like how raw is processed. Raw would have access to more dynamic range typically, but still, working in a color managed workflow in Resolve and being colour space aware, the hdr panel exposure adjustment behaves just like adjusting your exposure would in the day. Makes lumetri look like a toy by comparison.
Always appreciate your C70 testing
Thank you for your EXCELLENT video! You’re the ONLY PERSON on UA-cam who points out this WEAKNESS of Premiere Pro. From what you say, I’m 100% sure the burden is on Adobe, NOT Canon. It’s because you’ve demonstrated Davinci Resolve allows you to disable the lens distortion correction of Canon lenses. Canon does not provide Black Magic a plug-in to do that! This is ANOTHER REASON why I will NOT USE Premiere Pro beside others such as: subscription, sky-high cost, and frequent crashes. Long live Davinci Resolve!
Thanks for your guidance over the years. Trying to give back here, switch to Resolve. I used AP for 20 years, got fed up. Asked a simple question, “what do the pros use”? Davinci Resolve. Switched. Never looked back. So much happier.
Resolve is definitely what the pros use for color grading but Pr is the industry standard for commercial editing (at least in my market), with Avid dominating features. All production companies I work for are Adobe-based. Resolve does seem to be the best option for content creators, I'm glad it's treating you well!
Great video! One note for 6:50, the reason this is happening is because you're applying the Lumetri exposure and white balance corrections after applying the Rec709 Lut. If you add those corrections to a Lumetri effect and put it before the Rec709, the exposure will reduce the proper way.
I tested it on my FX3 with Prores Raw, so this might not be an identical comparison. But it's also important to mention, even though Lumetri recovered the exposure properly (when using the method above), it still looks slightly different than if you were to change exposure through the raw settings. I wish Premiere had more robust coloring tools, it's becoming increasingly annoying and outdated overtime.
Go to know. I'd never need to turn off lens correction. The RF24-105 2.8 lives on one of my C70's. I only shoot in RAW LT and you're right. WB and Exposure are the only save the shot options needed. All else is look. Great channel.
he does it again👏👏👏 bro doesn't miss.
next time though I want to hear some of the Canon customer service call on speaker phone but disguise the person's voice with the pitched down darth vader voice. also when the C70 course promo ends I would like it to reveal that you were playing the slap bass part the whole time.
This is fascinating. I'm just getting into the Davinci Ecosystem and it's cool to see this level of granularity supported at the import stage, even if I'm not at the point where this will be relevant to me just yet. Great work as usual
I posted a comment with a bunch of Canon links, might be worth reviewing since they aren't spam. But to simplify what I found. Canon provides an SDK to approved developers to create their own debayering process natively. It's how Premiere can read the raw files and so can Resolve. So it would be up to Adobe to add the code needed to access all the available metadata.
If you ever decide to just start editing in Resolve, feel free to reach out for help! I love cutting craw directly in app, especially if it needs a noise reduction pass, Resolve is just so much smoother overall in my experience.
Always appreciate your videos. Thanks for being such a good educator!
The flip/flop back and forth between Adobe and Canon reminds me of when I called Sony and Atomos when the 4k DCI 24P firmware update came out for the FX3 and FX30. The Atomos Ninja V would not recognize 4k DCI 24p RAW Output from the HDMI. The screen was just white and fuzzy. I called atomos and told them what was going on and the conversation was exactly like yours with Adobe and Canon. "Oh, Sony hasn't given us anything on our end to make 4k DCI work". Then I went to the internet and people said no, it was a Sony problem. So I called Sony and they said "RAW Output works on 4k DCI 24p" and I told them "Well, its not on the Atomos Ninja V." And they said they didn't test it with the Ninja V and that Atomos would have to update their product to work. Like OK LMFAO which is it!? Well turns out I later on got an answer haha, it infact WAS Atomos that needed to know how to read the 4k DCI 24p for RAW (It worked for ProRes HQ, just not RAW) and with Atomos 11...it fixed it. HAHA just made me laugh the back and forth companies are like that. "The burden is on Canon to make the plugin." "No, its on Adobe to make the plugin!" LOL guys...collaborate with each other...PLEASE! XD
I do find this SOOO weird thou that even Canons native RAW software doesnt even have an option for lens distortion...but Davinci does? Its almost like Davinci really reverse engineered Canons RAW to see where the metadata is stored for lens correction and gave you the option to remove it. So odd to me
If you ever get your hands on an R5C I'd love to see how you make it match your Clog2 C70 grades. I've yet to find my ideal workflow for Raw ST on mine.
Thank you! I've also noticed sometimes my iso setting is greyed out in Resolve for C70 Raw clips...any way to ensure it's accessible in post?
That's all you need with the C70 is more crop lol. All of my RF glass is pretty much useless on the C70 and I don't have the speed booster or EF lenses.
please do a review on the new 10-20 f4 ! there is no footage of it paired with a c70 on youtube yet
Admittedly I shoot 99% of my footage in XFAVC on the C300-3 but you cannot preview CRM files in OSX? Even with the Apple pro video formats installed?
I'm using premiere Pro to edit Canon RAW files and similar to long GOP It really chokes up the editor. Even when I'm using proxies it's extremely slow and choppy. For the most part I shoot in XF AVC all intra because long GOP chokes up my i-9 14 900K and 4090 computer build
This is awesome Dude! Keep it up.
Great video 👏🏼👏🏼
thanks AGAIN
Why would any serious shooter/editor… Use Premier pro. Premier pro is a joke in every possible way compared to resolve. I used Premier pro for 10 years and it was fine in its day. But now that we have resolve… You can stick with your Ford focus I’ll stick with my Tesla. as I tell everyone challenge yourself and learn resolve… Eventually you’ll be thrilled that you did.
You should invest in a mic stand
Premiere is a joke. I deleted it years ago....