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    What is the workflow for CDNG recorded from Atomos Shoguns?
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    Senior Member Demistate's Avatar
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    I've seen a lot of information about the workflow about recording FS Raw to CD's Oddssey 7q, but I'm looking for information on how to take the CDNGs recorded from the Atomos Shogun Inferno/Flame, and get them to Slog2/3 with sGamut color in Davnici Resolve. the CDNG files do come in "very dark" which my guess is that they are being interpreted as some sort of Linear data.

    Am I supposed to just use CD's LUTs, and run with Slog2?

    Edit: This is Convergent Design's workflow documentation for their recorder: https://convergent-design.com/kb.htm...=kb&kbartid=34
    Last edited by Demistate; 04-19-2017 at 07:30 AM.
    Alexander Mejia, Creative Director at Human Interact


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    Senior Member Demistate's Avatar
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    Bump on this again. It looks like the Slog2/3 selector is gone from the recorder now and It's unclear what kind of Log it's recording from the FS-RAW now for prores/DNx recordings
    Alexander Mejia, Creative Director at Human Interact


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    Got this answer from Atomos yesterday regarding the slog2/3 issue:
    "I have an update for the fix, as i talked today morning with our engineer. They are working on it and hopefully it will be out in few days. They are close on it"


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    In fact cDNG is a linear format. There's a number of ways to deal with it, each has its advantages.
    1-my preferred method is ACES CCt. If you're working in Resolve, set the IDT to Blackmagic Design Film and the ODT to REC709. This is, by far, the simplest.
    2-an alternative is to work with Davinci RGB. In this method, you can set the RAW parameters all BMG Film, both gamma and gamut. This is, in effect, a linear workflow.
    3-for a true linear workflow, set the RAW gamma to linear and the gamut to REC709. Then, use a final node to set a Linear to your desired format, usually REC709. This method works pretty well to recover highlights that you think were blown out on capture, but, really the data exists above IRE255, you just need to bring it back into legal range.


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    Senior Member Demistate's Avatar
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    Thanks for the input on how to get into a linear workflow. Currently I find that Aces is not a good color space to work in. I generally do Cineon, or Slog3 (since they are similar) and use luts to shape my work on the output. Is there a Non ACES way to go from Linear to SLOG3 or Cineon?
    Alexander Mejia, Creative Director at Human Interact


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    Senior Member Cary Knoop's Avatar
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    Quote Originally Posted by Demistate View Post
    Is there a Non ACES way to go from Linear to SLOG3 or Cineon?
    You can use DaVinci YRGB Color Managed color science and use explicit colorspace transforms.


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    Quote Originally Posted by Cary Knoop View Post
    You can use DaVinci YRGB Color Managed color science and use explicit colorspace transforms.
    Second this workflow. In Resolve 12.5 or 14 you can do a direct conversion from CDNG linear color space to S-log, S-log2, or S-log3. See attached image for color managed settings using DaVinci YRGB.

    Attached Images Attached Images
    Last edited by Razz16mm; 05-22-2017 at 06:26 PM.


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    Senior Member moldcad's Avatar
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    Quote Originally Posted by cuervo View Post
    In fact cDNG is a linear format. There's a number of ways to deal with it, each has its advantages.
    1-my preferred method is ACES CCt. If you're working in Resolve, set the IDT to Blackmagic Design Film and the ODT to REC709. This is, by far, the simplest.
    2-an alternative is to work with Davinci RGB. In this method, you can set the RAW parameters all BMG Film, both gamma and gamut. This is, in effect, a linear workflow.
    3-for a true linear workflow, set the RAW gamma to linear and the gamut to REC709. Then, use a final node to set a Linear to your desired format, usually REC709. This method works pretty well to recover highlights that you think were blown out on capture, but, really the data exists above IRE255, you just need to bring it back into legal range.
    Hi @cuervo; could you please elaborate why - in your proposed workflows 1 and 2 - you use BMG film and not Cinema DNG on input? Perhaps the answer is obvious, but frankly I'm new to RAW (have been recording S-log 90% of the time) and hence no experience whatsoever. Is it that only BMC can treat the source as linear, while CDNG (as IDT in Aces, or Camera RAW setting) can't - is it's so, why? Please elaborate.

    I'm not going to switch to CDNG recording on my Shogun Inferno, but use DNxHR encoding which bakes S-log2/3 in, and can also be used for framerates exceeding 30p; another reason being purely practical (file sizes). But I'd like to learn something new; TIA!

    Piotr


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    Senior Member moldcad's Avatar
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    Quote Originally Posted by Razz16mm View Post
    Second this workflow. In Resolve 12.5 or 14 you can do a direct conversion from CDNG linear color space to S-log, S-log2, or S-log3. See attached image for color managed settings using DaVinci YRGB.

    Is it incorrect go straight to 709 (or in my case of HDR10 grading - to 2020/BT2084) as T/L and output color/gamma?

    Piotr


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    Senior Member Cary Knoop's Avatar
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    Quote Originally Posted by moldcad View Post
    Is it incorrect go straight to 709 (or in my case of HDR10 grading - to 2020/BT2084) as T/L and output color/gamma?
    Typically you would set the output color space to the color space of the grading monitor.
    The timeline color space influences the controls, for instance you could prefer to have the controls react in a log or linear fashion.


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