I’m confused about the color management workflow for C200 raw files. Specifically, what LUT to use.
Canon has a document here about post-production and the C200:
http://www.learn.usa.canon.com/resources/articles/2017/eos-c200-post-production-brief.shtml
However, the document primarily deals with a workflow where you’re using Canon Raw Development to transcode raw into ProRes 4444 and, at the same time, choose color space and gamma. If you do that, then it’s simple to pick the appropriate LUT. Canon has updated LUTs for the C200 here:
https://www.canon.co.uk/support/con...type=download&softwaredetailid=tcm:14-1578818
If you’re using raw directly in your NLE (I’m playing with the beta of Resolve 14), what LUT should you use? All of them assume a color space and gamma and - I think - a raw doesn’t have either.
I thought that perhaps Cinema Gamut and Canon Log 2 were the “native” color space and gamma for C200 raw files. However, that doesn’t seem to be the case: if I take a C200 raw file, use Canon Raw Development to export two versions - one using Canon Log 2 and one using Canon Log 3 - then put all three files (the two ProRes and one raw) into Resolve, all three files look different. The Canon Log 2 files and raw files look the closest but they don’t match. This suggests that either there’s no “native” gamma for raw or it’s something other than what I’m trying.
Ok, since writing the questions above, I think I might have figured this out. If I put a Red or Sony raw file into Resolve, clicking on the Camera Raw button on the left side of the Color screen shows a panel where I can alter the settings of the raw file - including setting color space and gamma. If I click on a Canon Raw Light file and try to do the same thing, it doesn’t work: there are no raw settings at all. It’s as if Resolve can play a C200 raw but can’t do anything else with it.
It seems we’ll have to wait for NLEs to catch up with C200 raw, or use Canon Raw Development to transcode to ProRes (and pick color space and gamut). Any thoughts?
Canon has a document here about post-production and the C200:
http://www.learn.usa.canon.com/resources/articles/2017/eos-c200-post-production-brief.shtml
However, the document primarily deals with a workflow where you’re using Canon Raw Development to transcode raw into ProRes 4444 and, at the same time, choose color space and gamma. If you do that, then it’s simple to pick the appropriate LUT. Canon has updated LUTs for the C200 here:
https://www.canon.co.uk/support/con...type=download&softwaredetailid=tcm:14-1578818
If you’re using raw directly in your NLE (I’m playing with the beta of Resolve 14), what LUT should you use? All of them assume a color space and gamma and - I think - a raw doesn’t have either.
I thought that perhaps Cinema Gamut and Canon Log 2 were the “native” color space and gamma for C200 raw files. However, that doesn’t seem to be the case: if I take a C200 raw file, use Canon Raw Development to export two versions - one using Canon Log 2 and one using Canon Log 3 - then put all three files (the two ProRes and one raw) into Resolve, all three files look different. The Canon Log 2 files and raw files look the closest but they don’t match. This suggests that either there’s no “native” gamma for raw or it’s something other than what I’m trying.
Ok, since writing the questions above, I think I might have figured this out. If I put a Red or Sony raw file into Resolve, clicking on the Camera Raw button on the left side of the Color screen shows a panel where I can alter the settings of the raw file - including setting color space and gamma. If I click on a Canon Raw Light file and try to do the same thing, it doesn’t work: there are no raw settings at all. It’s as if Resolve can play a C200 raw but can’t do anything else with it.
It seems we’ll have to wait for NLEs to catch up with C200 raw, or use Canon Raw Development to transcode to ProRes (and pick color space and gamut). Any thoughts?