Convergent 7Q LUT for fs700- Davinci Resolve

A

avidrob

New member
Hi Mitch

Have you used your provided raw - slog2 LUT and workflow for the fs700 in davinci resolve?

I cant get good results using it. it just look plain wrong, with ugly skin tone containing lots of red and magenta and a general over proceed look to it.
The best I have found is using no lut and the BMD film colour space and gamma in the cam raw settings, with either 0.2 gamma boost or a +2/3 raw exposure boost. Im concerned that this is applying non relevant colour matrix adjustment specific to BMD cameras.

ACES workflow in resolve 10 gave me some better results but resolve 11 no longer has a cDNG IDT, and BMD recommendation of using the BMD camera IDT gave terrible results.

Is it possible for you to provide us as good LUT that works smoothly with accurate colours? i just want a single lut that gives the best starting place for grading without having to fix conversion problems first.

Also could you suggest how we get a proper calibrated ACES IDT for the oddysey 7Q/FS700 Combo. Do you need to talk to the Academy?

Finally it would be awesome if someone at CD collaborate with Film convert about getting an accurate calibration profile for the FS700/7Q combo so that we can process the linear DNG file straight into film convert

Kind regards

Robert Beck
Avid AV
 
avidrob said:
Hi Mitch

Have you used your provided raw - slog2 LUT and workflow for the fs700 in davinci resolve?

I cant get good results using it. it just look plain wrong, with ugly skin tone containing lots of red and magenta and a general over proceed look to it.
The best I have found is using no lut and the BMD film colour space and gamma in the cam raw settings, with either 0.2 gamma boost or a +2/3 raw exposure boost. Im concerned that this is applying non relevant colour matrix adjustment specific to BMD cameras.

ACES workflow in resolve 10 gave me some better results but resolve 11 no longer has a cDNG IDT, and BMD recommendation of using the BMD camera IDT gave terrible results.

Is it possible for you to provide us as good LUT that works smoothly with accurate colours? i just want a single lut that gives the best starting place for grading without having to fix conversion problems first.

Also could you suggest how we get a proper calibrated ACES IDT for the oddysey 7Q/FS700 Combo. Do you need to talk to the Academy?

Finally it would be awesome if someone at CD collaborate with Film convert about getting an accurate calibration profile for the FS700/7Q combo so that we can process the linear DNG file straight into film convert

Kind regards

Robert Beck
Avid AV
Click to expand...

Best results I got with Resolve 11 were to shoot a Gretagmacbeth chart (aka X-rite colour checker) and use the Resolve colour match to sort the colours - working in yRGB with Rec 709 gamma and colour profile. That gives a very nice starting point IMO. Worth doing for each scene if you have the time - otherwise just having a clip you can drop in each time should help.

Although I agree with you 100% - it would be better if we could get some decent LUTs and, ideally, an IDT.
 
Hey Colin, can you use the X-rite colour correction on other shots where you haven't used the actual chart? (Use the chart for the first shot of the setup and then port those corrections onto other shots in the same scene, without re doing the colour chart for each and every shot?) I guess it's mostly a question about resolves automation, as I'm not really well versed with all the ins and outs.

Using colour charts: bringing me back to my good old film days.
 
This on the LUTs. Very needed.

Especially for documentary use, while 50/100fps is needed. Would be great to save that extra time and get an accurate result.
 
As far as I can tell, using the colorchart will apply the changes to the node you are currently using. Then you can save that node as a "still" if you want. Then drag and drop that still onto your other shots and you're good.
 
Sorenson said:
Hey Colin, can you use the X-rite colour correction on other shots where you haven't used the actual chart? (Use the chart for the first shot of the setup and then port those corrections onto other shots in the same scene, without re doing the colour chart for each and every shot?) I guess it's mostly a question about resolves automation, as I'm not really well versed with all the ins and outs.

Using colour charts: bringing me back to my good old film days.
Click to expand...

Yes. If you 'grab a still' from the corrected image then 'add correction' to the other clips then the colour match adjustments are copied across. I've used it to reasonable success for a whole day's shoot from one chart (albeit in a studio environment, so they're all the same).

You can't use it in ACES (it doesn't work with ACES yet). I've found it works okay to match cameras too - although I've also found it is a bit rubbish working with the Slog2 footage from the camera/Odyssey - ACES (slog2 IDT) producers much better results in that instance.
 
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