Fantastic, i subbed your channel.... Juan is an excellent colorist with lots of great info but I have never tried this method with my old BMCC, but i love the looks you're getting ! I'll never get rid of that camera.
The voiceover sounds a bit ASMR-esque to me... XD (In a good way!) Color grading wise I'm still a newbie but this looks like something I could actually try! Anyways, I have to thank you! Even though it's my first comment on the channel, I'm in the process of buying a BMCC 2.5k also thanks to your videos. You spoke very clearly about its weaknesses from a professional perspective but I feel like hobbyists like me certainly do not need all the great features and functionalities of the latest cameras and I just hope I can learn a lot by using it and maybe develop my style like you did. Keep it up! Cheers
Thank you for this, I tried that Linear method with a few of my shots and got good & weird results, it favours perfect exposure, shadows go all weird if not and highlights too, though I suppose all shots should be correctly exposed anyway 😉 loving that I picked up the 2.5k!
Hi Gareth i have sony FS700R I record CDNG Raw 12 bit in my external monitor Odyssey convrgent design and your technic work perfectly on davinci resolve 17 thank you so much for sharing just a question i have exposure problem i use the histogram on my monitor i was ok but after check the footage i was under expose should we over expose with raw i mean a bit
I guess try to be perfect is the short answer! Raw has the benefit of changing ISO in post so there should always be that safety net if you're a bit over / under exposed. If you're so underexposed that even ISO adjusted in post can't save it then maybe check you have your monitor setup correctly. There's quite a wide margin of error with raw.
Question: I converted a short ProRes RAW clip to CinemaDNG (on my MacBook Pro running Monterey 12) that was shot on my Nikon Z6 that I want to Color Grade in DaVinci (which I have yet to installed on my new ProArt laptop (running under System 11) The output is _000001 thru _000299.dng files - each 8.4MB - so are they meta-files that are imported into Resolve as a “group”??? If not, what’s the next step in processing this - single - video clip?
Hey there, is there a specific reason you chose a DCI-P3 LUT intended for P3 gamut over a 709 LUT ?Since you debayered in 709 and stayed in that Gamut with your CST ? Thanks mate
Thanks for this, could you reveal your approach to exposure for Raw c-dng, and which tools/approach you use? Do you simply use ETTR with Zebras at 100/95%? Or are you using monitor with waveform and false colour, and if so what is your advice for using these tools effectively with the BMMC and BMPCC? many thanks.
I use the Atomos Ninja V monitor with the false colour tool. At this point I know the monitor well enough to see when things are too hot, even before false colour. It's just practice understanding the limits of BMCC. Even in raw you still have to be careful! I don't think BMCC handles strong highlights very well, so just be mindful to avoid.
@@GRTHK Good to know you use the Ninja V as I have that monitor too. Are there any Ninja V settings that are particularly key in your experience? Given that the SDI to HDMI output of the BMMC (I'm using a Blackmagic Micro converter 3G for SDI to HDMI signal) is limited to 10 bit HD and is interlaced if I've read the manual correctly, I'd appreciate any insights into the best Ninja V settings for judging raw exposures (if there is such a thing). I can't quite get my head round it. Is it possible to use the Thunderbolt port when possible, to see live waveforms on a Mac with Resolve Studio? I'm thinking this exercise might be instructive as a learning exercise, in interpreting the false colour reading of the Ninja V? In terms of the BMCC's highlights, do you go as far as under-exposing by a couple of stops? I appreciate there are a lot of variables from lighting, what's in the scene, and the look you're after for a shot but I'm curious if you have found a method of exposing that is your base point. Thanks for taking the time to answer.
@@GRTHK I've been reading a thread on the personal-view forum entitled "2k blackmagic pocket cinema camera, active m43, $995" - pg 119 (of 180) starts a conversation about exposure settings. User "Kholi" advises using waverform on a monitor plus 75% zebras (Ninja V false colour, as you suggest, I agree is probably the best tool for judging what you see vs IRE ranges for the look you want). 75% zebras on camera shows zebras in the range 75-100%, where 100% is clipped by the sensor. Kholi suggests to aim for exposure in the -1 to +1 range as best balance between noise in shadows versus clipping in highlights, hence the 75% zebra setting. Even at 90% zebras, users reported individual channels can clip (100% zebras does not mean individual RGB channels are not clipping, only that all channels are not clipping). He says that, for example, skin tone highlights might experience green channel clipping (seen in Resolve as magenta cast that's hard to balance out). So I think I'll use your false colour suggestion with 75% zebras on the camera. I also read that BMPCC set to record in Film mode in raw, with BMPCC screen set to Video mode, gives you the best viewing LUT on the camera for judging exposure. Just thought I'd share... I'm going to use this as my start point and experiment from there.
@@GRTHK Just a clarification on the 75% zebras. Kohli says: "By setting Zebras to 75% and making sure that only the brightest highlights on skin or any object in frame that I want to keep are at 75%, I'm insuring that I never lose a single channel on that surface."
@@GRTHK ... so I've answered my own questions... only question is Ninja V settings: are you using PQ setting? Any other settings that are key to give the best information for juding the false colour?
Theoretically, Arri Log output is designed to hold more dynamic range. Obviously BMCC doesn't have 16 stops like the Alexa, but maybe it's a nice flat point to start from. Plus, I guess it looks cool.... Just go experiment!
Thanks for this! Bizarrely it worked for me in 16 but I recently upgraded to 17 and the middle node doesn't seem to effect the over all grade the same way as it used to (fine tuning the shadows for example) - Do you know of any settings that might be effecting this? Many thanks and keep up the great content. Cheers
I've tried in 17 and it seems to be ok. One small point is in the Colour Space Transform settings it now defaults the Tone Mapping Method to 'DaVinci'. This definitely messes up the image. Switch this to 'None'. Hopefully that helps.
Wooow... you just gained another subcriber. Thank you for this!!!! Do you know if this method works for the BRaw codec with the pocket cinema cameras aswell? Thank you again🙏🏽
I find it doesn't work as well on the B-Raw from my Ursa. It doesn't seem necessary as the colour science from the newer cameras and the B-Raw codec seems to need less effort.
Me again :) - I am trying this method with my BMCC 2.5k using DNG RAW and I am getting seriously blotchy, over saturated blue highlights (almost looks like peaking in camera) when doing the colour transfer. I noticed when I change the output colour space (from timeline to ACES) there there is some improvement - Am I right in assuming this colour transfer only works if your exposure is bang on? I.e no clipping? The specular highlights on the helmet I was filming were looking nasty!!! Thanks for your help..Nick
Maybe try un-checking (or don't tick in the first place) 'highlight recovery' in the raw tab. Otherwise I don't know man! Maybe you did clip the highlights. BMCC is vulnerable to that. Even in raw there are somethings you can't save in post. Or maybe this linear technique is flawed....
It's very difficult; I've done it before; Just import your footage via adobe camera after effects raw, and colour grade it; the only problem with that is you need extra ram as after effects isn't the best when it comes to play back. I have examples of my colour grading that ive done on adobe after effects on my UA-cam channel. The process in this video is a lot easier. Thanks!
Thanks for posting this. I still use the bmcc 2.5k & production 4k. Going to experiment with this process, looks incredible for an exterior shot. I often struggle getting great exterior shots on overcast days. Also what type of lens was used. Overall great job.
Really nice work brother, I'm a sony user but since I got the 2.5k BMCC I just got completely in love with it. Keep making great stuff
Thanks man!
The same for me
Contestaste la gran incognita mundial. FELICITACIONES!!!!
es hermoso
Really great! Straight to the point and powerful result.
Fantastic, i subbed your channel.... Juan is an excellent colorist with lots of great info but I have never tried this method with my old BMCC, but i love the looks you're getting ! I'll never get rid of that camera.
Yes Juan is the man! BMCC can still make great stuff. Good luck!
Thanks man this has been a bit of a quantum leap video for a newbie like myself
Don't thank me, thank Juan Melara!
The voiceover sounds a bit ASMR-esque to me... XD (In a good way!) Color grading wise I'm still a newbie but this looks like something I could actually try!
Anyways, I have to thank you! Even though it's my first comment on the channel, I'm in the process of buying a BMCC 2.5k also thanks to your videos. You spoke very clearly about its weaknesses from a professional perspective but I feel like hobbyists like me certainly do not need all the great features and functionalities of the latest cameras and I just hope I can learn a lot by using it and maybe develop my style like you did.
Keep it up! Cheers
Thanks man. Not sure putting my audience to sleep is the plan! BMCC is a great way to spend only a little but get a hell of a lot. Good luck.
This is gold. Thank you.
Brilliant. Subscribed.
Thank you for this, I tried that Linear method with a few of my shots and got good & weird results, it favours perfect exposure, shadows go all weird if not and highlights too, though I suppose all shots should be correctly exposed anyway 😉 loving that I picked up the 2.5k!
Yes it's not a cure-all for bad footage! Keep at it, the BMCC will yield some great stuff for you.
Great tut! plz make more BMCC2.5K color grading tut! thx
Can you make a video about ETTR with BMCC 2.5k?
Thank you for the great video. What were your color management setting for this?
Thanks. I'm fairly sure a couple of years ago I was using the standard DaVinci settings.
Hi Gareth i have sony FS700R I record CDNG Raw 12 bit in my external monitor Odyssey convrgent design and your technic work perfectly on davinci resolve 17 thank you so much for sharing
just a question i have exposure problem i use the histogram on my monitor i was ok but after check the footage i was under expose should we over expose with raw i mean a bit
I guess try to be perfect is the short answer! Raw has the benefit of changing ISO in post so there should always be that safety net if you're a bit over / under exposed. If you're so underexposed that even ISO adjusted in post can't save it then maybe check you have your monitor setup correctly. There's quite a wide margin of error with raw.
@@GRTHK thank you for the advice
Question: I converted a short ProRes RAW clip to CinemaDNG (on my MacBook Pro running Monterey 12) that was shot on my Nikon Z6 that I want to Color Grade in DaVinci (which I have yet to installed on my new ProArt laptop (running under System 11)
The output is _000001 thru _000299.dng files - each 8.4MB - so are they meta-files that are imported into Resolve as a “group”??? If not, what’s the next step in processing this - single - video clip?
Hey there,
is there a specific reason you chose a DCI-P3 LUT intended for P3 gamut over a 709 LUT ?Since you debayered in 709 and stayed in that Gamut with your CST ?
Thanks mate
I know, not by the book at all. I just think it worked and looked good! 😬
Thanks for this, could you reveal your approach to exposure for Raw c-dng, and which tools/approach you use?
Do you simply use ETTR with Zebras at 100/95%? Or are you using monitor with waveform and false colour, and if so what is your advice for using these tools effectively with the BMMC and BMPCC? many thanks.
I use the Atomos Ninja V monitor with the false colour tool. At this point I know the monitor well enough to see when things are too hot, even before false colour. It's just practice understanding the limits of BMCC. Even in raw you still have to be careful! I don't think BMCC handles strong highlights very well, so just be mindful to avoid.
@@GRTHK Good to know you use the Ninja V as I have that monitor too. Are there any Ninja V settings that are particularly key in your experience? Given that the SDI to HDMI output of the BMMC (I'm using a Blackmagic Micro converter 3G for SDI to HDMI signal) is limited to 10 bit HD and is interlaced if I've read the manual correctly, I'd appreciate any insights into the best Ninja V settings for judging raw exposures (if there is such a thing). I can't quite get my head round it. Is it possible to use the Thunderbolt port when possible, to see live waveforms on a Mac with Resolve Studio? I'm thinking this exercise might be instructive as a learning exercise, in interpreting the false colour reading of the Ninja V?
In terms of the BMCC's highlights, do you go as far as under-exposing by a couple of stops? I appreciate there are a lot of variables from lighting, what's in the scene, and the look you're after for a shot but I'm curious if you have found a method of exposing that is your base point. Thanks for taking the time to answer.
@@GRTHK I've been reading a thread on the personal-view forum entitled "2k blackmagic pocket cinema camera, active m43, $995" - pg 119 (of 180) starts a conversation about exposure settings.
User "Kholi" advises using waverform on a monitor plus 75% zebras (Ninja V false colour, as you suggest, I agree is probably the best tool for judging what you see vs IRE ranges for the look you want).
75% zebras on camera shows zebras in the range 75-100%, where 100% is clipped by the sensor. Kholi suggests to aim for exposure in the -1 to +1 range as best balance between noise in shadows versus clipping in highlights, hence the 75% zebra setting. Even at 90% zebras, users reported individual channels can clip (100% zebras does not mean individual RGB channels are not clipping, only that all channels are not clipping). He says that, for example, skin tone highlights might experience green channel clipping (seen in Resolve as magenta cast that's hard to balance out).
So I think I'll use your false colour suggestion with 75% zebras on the camera. I also read that BMPCC set to record in Film mode in raw, with BMPCC screen set to Video mode, gives you the best viewing LUT on the camera for judging exposure. Just thought I'd share... I'm going to use this as my start point and experiment from there.
@@GRTHK Just a clarification on the 75% zebras. Kohli says: "By setting Zebras to 75% and making sure that only the brightest highlights on skin or any object in frame that I want to keep are at 75%, I'm insuring that I never lose a single channel on that surface."
@@GRTHK ... so I've answered my own questions... only question is Ninja V settings: are you using PQ setting? Any other settings that are key to give the best information for juding the false colour?
I never like using "clip attribute" as it effect IQ and slows down playback
Thank you for this!!
Quisiera saber lo que dices coloca subtítulos en español porfaaaaa
Hi Gareth!!
Why ArriLog C gamma in output?
Theoretically, Arri Log output is designed to hold more dynamic range. Obviously BMCC doesn't have 16 stops like the Alexa, but maybe it's a nice flat point to start from. Plus, I guess it looks cool.... Just go experiment!
@@GRTHK in the new da vinci the options are ArriLog C3 and C4, which one has a higher dynamic range? Thank you very much!!
@@andonimunarrizgainza6002 C4 seems a bit TOO flat tbh. Unless you have the new Alexa35. Again, experiment and see what works.
Thanks for this! Bizarrely it worked for me in 16 but I recently upgraded to 17 and the middle node doesn't seem to effect the over all grade the same way as it used to (fine tuning the shadows for example) - Do you know of any settings that might be effecting this? Many thanks and keep up the great content. Cheers
I've tried in 17 and it seems to be ok. One small point is in the Colour Space Transform settings it now defaults the Tone Mapping Method to 'DaVinci'. This definitely messes up the image. Switch this to 'None'. Hopefully that helps.
@@GRTHK Thanks mate, I will defo check that setting out and fingers crossed that does it :)
Wooow... you just gained another subcriber. Thank you for this!!!! Do you know if this method works for the BRaw codec with the pocket cinema cameras aswell? Thank you again🙏🏽
I find it doesn't work as well on the B-Raw from my Ursa. It doesn't seem necessary as the colour science from the newer cameras and the B-Raw codec seems to need less effort.
What is your color management settings?
DaVinci YRGB - the standard setting!
Me again :) - I am trying this method with my BMCC 2.5k using DNG RAW and I am getting seriously blotchy, over saturated blue highlights (almost looks like peaking in camera) when doing the colour transfer. I noticed when I change the output colour space (from timeline to ACES) there there is some improvement - Am I right in assuming this colour transfer only works if your exposure is bang on? I.e no clipping? The specular highlights on the helmet I was filming were looking nasty!!! Thanks for your help..Nick
Maybe try un-checking (or don't tick in the first place) 'highlight recovery' in the raw tab. Otherwise I don't know man! Maybe you did clip the highlights. BMCC is vulnerable to that. Even in raw there are somethings you can't save in post. Or maybe this linear technique is flawed....
@@GRTHK thanks for your advice, i'll play around :) cheers
Some Experts recommend using Adobe bridge workflow to edit Cinema DNG files as sequence. Do you have experience in this?😊
To edit in Premiere? Why would you? Davinci is far superior! I haven't tried it, no 👍
I will try. Thanks 🙏
Great ..How To grade CinemaDNG raw files from the BMCC 2.5k BUT in Adobe ( Adobe Camera RAW), Premiere and AE.
It's very difficult; I've done it before; Just import your footage via adobe camera after effects raw, and colour grade it; the only problem with that is you need extra ram as after effects isn't the best when it comes to play back. I have examples of my colour grading that ive done on adobe after effects on my UA-cam channel. The process in this video is a lot easier. Thanks!
No idea. I use DaVinci on the Mac.
@@06khank Thanks
@@06khank Thanks
Thanks for posting this. I still use the bmcc 2.5k & production 4k. Going to experiment with this process, looks incredible for an exterior shot. I often struggle getting great exterior shots on overcast days. Also what type of lens was used. Overall great job.
Thanks. Shot with Canon FD 24mm f2 (converted to EF mount) + EF to MFT Metabones Speedbooster
The winter messed up logistics? No. The train tracks in Russia were a different gauge and supplies were transferred over by hand.
Not at all what I expected.
only people with the relevant skills will understand this- making your video unnecessary
So you don't believe in education? Strange outlook....