C200 images

Danilo Del Tufo said:
There’s one thing that I haven’t understood : When do you shot RAW you must select a LOG profile? The CRM files (RAW Light files) without C-LOG are fully colorized or they have a flat look?
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They have a Raw look ... which is kind of sort of like the Log look ... except it's not exactly the Log look..
 
Cary Knoop said:
That is really up to you, if you like to grade in log you would set the timeline to c-log.
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I dunno very well Da Vinci, so you can set the timeline to C-Log, how can you set the timeline in C-Log? I've just seen the possibility to select the LUTs, do you intend the three options: "1D Input LUT - Canon Log to Cineon - Canon Log to Rec709 - Canon Log to video" in Resolve Da Vinci 12.5? Maybe in Da Vinci 14 beta is different?
 
Danilo Del Tufo said:
I dunno very well Da Vinci, so you can set the timeline to C-Log, how can you set the timeline in C-Log? I've just seen the possibility to select the LUTs, do you intend the three options: "1D Input LUT - Canon Log to Cineon - Canon Log to Rec709 - Canon Log to video" in Resolve Da Vinci 12.5? Maybe in Da Vinci 14 beta is different?
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I would avoid LUTs and instead use transforms.

If you select YRGB Color Managed color science your timeline color space determines how the controls handle your color correction/grading.
And the output color space (typically) matches you monitor and destination color space.

Alternatively you can select ACES but ACES forces you to work in its own color space which is log based, there are ACEScc and ACESScct.
 
Cary Knoop said:
I would avoid LUTs and instead use transforms.

If you select YRGB Color Managed color science your timeline color space determines how the controls handle your color correction/grading.
And the output color space (typically) matches you monitor and destination color space.

Alternatively you can select ACES but ACES forces you to work in its own color space which is log based, there are ACEScc and ACESScct.
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I see, so using the project setting (right click on the mouse on the project before launch it) you can change the Da Vinci's color science into "YRGB Color managed" setting; but where's the voice "transforms" in Da Vinci? Thanks!
 
Danilo Del Tufo said:
I see, so using the project setting (right click on the mouse on the project before launch it) you can change the Da Vinci's color science into "YRGB Color managed" setting; but where's the voice "transforms" in Da Vinci? Thanks!
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Go to Color Management and select your preferred timeline transform and applicable output transform in the selection boxes. RAW plugins connect directly to the timeline transforms so there is no need for an explicit Input transform.

Input transforms are more accurate than LUTs and you do not have to worry about any clipping or color gamut mismatches.
 
Yes, it does.

Canon may provide some kind of display assistance you can activate that will add some contrast/color to help with on-camera viewing, but I can't confirm that. You can also use LUTs with an external monitor, which most people do. (Some cameras even allow you to import them internally.)

If possible, you should definitely rent the camera before you buy it to see if it's a good fit for you...
 
Cary Knoop said:
Go to Color Management and select your preferred timeline transform and applicable output transform in the selection boxes. RAW plugins connect directly to the timeline transforms so there is no need for an explicit Input transform.

Input transforms are more accurate than LUTs and you do not have to worry about any clipping or color gamut mismatches.
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By definition true raw formats record in CIE XYZ linear space. That is what should be used for input transform unless there is a camera specific input transform like one would use in an ACES workflow. It will be interesting to see how the Canon raw light is implemented in Resolve. Canon's 10 bit raw would need to be some sort of data compression format as there is not enough data depth there for full linear DR recovery. If it works in a way similar to my D16 12 bit raw, a CIE XYZ linear input transform will recover a 16 bit linear value scale for full DR manipulation in the raw menu.
If there is a raw menu like there is for Arri, Red, and CDNG, you have direct access to full linear data for exposure, white balance, highlight and shadow recovery, color saturation, etc. that is independent of grading nodes and gives far more refined control over how values are expressed through out the image and over deep color values than working from any 10 bit log video transform. Once values are compressed into a log color space, there are subtleties you can't recover.
If you want to work in deep color HDR color spaces, avoid log anything. The advantage of Resolve managed color space transforms is that you get a mathematically correct conversion from your input color space to any output color space. If you use aftermarket LUTS, you need to convert to the color space the LUT was designed for. If you are doing your own grades from scratch, you should convert to the color space of the display format you will be delivering too and monitor in the color space of your hopefully calibrated reference display. For most of us most of the time that is still REC709. For 4K possibly REC2020, but you need at least a current generation HDR capable consumer TV for a reference monitor to even see that . LG or Sony OLED, or Samsung QLED.
 
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