Clarifying steps for processing 7Q RAW to ProRes in DaVinci Resolve.

J

jshbckr

Veteran
I am looking for how others are processing their RAW files in Resolve. I think I'm doing it right, but I want to be more certain.

I follow the first step in CD's PDF here, which is to change the "Cinema DNG Settings" to "BMD Film" (and other stuff, white balance, etc). But I have a few shots that still look a bit dark to me. Do I have to apply their LUT? I know the PDF mentions that it the footage is supposed to be Gamma 2.2, but I'm not sure if that's something I need to tweak after changing the BMD Film setting (by applying a LUT) or if simply changing that setting makes it Gamma 2.2.

I this last month, https://vimeo.com/99549742, which we sent to a post house as ProRes 4444 files, and they did edit/color (without any issues, I assume).

Also, when I apply CD's Linear to Slog2 LUT, the image gets quite a bit bright (brighter than I shot it, I believe). It seems like everything that touches the RAW files does something different (looks one way when you shoot it, another in OS X's previews, another with BMD Film, and another with the LUT.)

Again, I just want to make sure when I'm baking everything into ProRes (and throwing out the RAW) that I'm doing it in the best way possible.
 
Josh,

FWIW, I have been looking for the answers to the exact same questions. I found a tutorial from David Vickers that was helpful with regards to the initial setup:

https://vimeo.com/83373941

While I am super new to Resolve 11, I was having trouble finding where to apply the settings listed by Convergent Design. I was typically right clicking on each and every clip and applying the settings. Hopefully you were not doing it this way as it was very time intensive. Feeling that there had to be something easier, I found that by clicking the wheel at the bottom of the page I could get into the global settings and from there went into RAW as David is describing. It is a short video, but it did help me with the initial setup.

I don't know the answers to your other questions, but I may have a few more thoughts as I research this over the weekend.

Grant
 
How many of you are going the adobe camera raw route? It might be a little more time consuming and less batch friendly but yelds excellent skin tone results!
 
Hey Josh, I'll post my settings when I get back to the USA. I avoid the CD LUTS and use an ACES route based a bit on some settings Paul Curtis came up with. Much better than the LUTS and very close to 4K2HD.
 
many roads lead to Rome..

it depends what you want to get out from Resolve. I prefer to get a flat image wich keeps some alternatives in NLE. See the workflow of Paul Curtis below


ACES workflow
1) Master Project settings. Color Science: DaVnci ACES
2) Camera RAW: Cinema DNG - Decode Using: Project - White Balance: As Shot - Color Space: BMD Film - Gamma: BMD Film - Highlight Recover: Check
3) Exposure +2.0 / +2.5
4) No LUT
5) No further correction
6) Gene applies 0.8 contrast, I mostly leave it at 0.0

From here I export a ProRes (HQ) file and delete the DNG after a while.
You also can add some nodes and finish your imaging to the grade you want.
 
As others have said the CD LUTs are kind of sucky (I believe they are working on new ones though) but Clermond's (well, Paul's) settings above give you nice gradeable Pro Res files though.

However If you're grading straight from the Raw I find Gamma and Colour Space both Rec709 actually gives a pretty darn good starting point.
 
I just do the settings that Clermond lists. I use +2.5 exposure and add the .8 contrast. It's pretty close to 4K2HD, might be even a little nicer on the skin. Yes, avoid the CD LUTS as they need work.
 
i more or less do the same as gene and clermond do, using the DaVinci YRGB color science though, and i add the 0.8 gamma correction via a lut i made. The method without CD's LUT gets you way closer to slog2 4K2HD.

@castawayfilms: you can select all the raw files in the media tab and make your changes in the camera raw panel, then next to the save button on top right there is a button to apply these settings to all (selected) clips.
 
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