FS7: Two Q's About Bert LUT and LC709A

The new version of catalyst browse keeps crashing. (PC version) I bought Catalyst Prepare but never use it (can't export 4K propperly).

The all-in-one solution is to edit in Davinci Resolve and do the necessary color corrections.

Good enough for me. The only thing I miss is cut and past text properties and other batch actions.

You can buy this software for 995 or a used dongle for about 400-500 dollar.
 
starcentral said:
copy/paste nodes across multiple clips and worse edit points. This is wrong on many levels.
Click to expand...

Hi Dennis, thanks for the 'cyan removal' Lut.


But excuse my ignorance, but what is wrong with that? I do that quite often with clips that are shot in the same circumstances. 0.47 sharpening, bit of curve, bit of brightness and a lut (often the Arri Lut).

Prequote:

QUOTE=starcentral;1986669485]The final output happens from the NLE software, not Davinci Resolve. .[/QUOTE]

Unless Davinci Resolve is your NLE I suppose.
 
Last edited:
RASL said:
Dennis, how would you do the round tripping between Premiere and Resolve?
Click to expand...

I'll start a new thread in the coloring sub-forum since round tripping was one of the topics I know people wanted more discussion around. You can also google "hingsberg.com round trip workflow" and read my article on the subject.

I will just add to this discussion that importing an XML file from NLE to Resolve can fail for a slew of reasons, some of which I will list in the other post, but a common reason for import failure are clips with different frame rates which is fine for most NLE timelines but tend to fail on import to Davinci Resolve from what I've seen. People also forget that Davinci Resolve only supports so many codecs, so again mixing codecs can trip up the import and is often overlooked. If you're lucky enough to get your XML imported next you have the issue of how well transitions, animated motion layers, titles, etc.. are carried over because typically they will not import very well.

For that reason I like to use what I call a "proper" or "real" round trip workflow which means you send only video files to your colouring software, export individual files once they are coloured, then relink these new files back in your editing software. The final output happens from the NLE software, not Davinci Resolve.

There is also a way to setup Davinci Resolve so that you can color the edited timeline, but switch at anytime to a master timeline with the full length of the original clip which also means later on you can export the full length of the clip not just the edit in and out points of each clip. This allows you to further make edit adjustments if needed without having to go back to the coloring process to recolor or re-render new clips, etc..

I will post a new thread in the coloring sub-forums with more detail about all of this.
 
Last edited:
Publimix said:
.... excuse my ignorance, but what is wrong with that? I do that quite often with clips that are shot in the same circumstances. 0.47 sharpening, bit of curve, bit of brightness and a lut (often the Arri Lut).
Click to expand...

Maybe I'm not clear, sorry for this.

If you use Davinci right, when you create an adjustment on a clip, that clip if it appears later in the project is also affected. This is time saver - especially where you have a lot of edit points.

Hope that makes more sense.
 
Last edited:
starcentral said:
If you use Davinci right, when you create an adjustment on a clip, that clip if it appears later in the project is also affected. This is time saver - especially where you have a lot of edit points.
Click to expand...

Hi Dennis,
Then I am using Davinci in the wrong way I think, I edit the timeline, after that I appy Luts and corrections to the clips in the timeline. When I use clips twice, both clips have to be corrected. I do not correct clips in the media-pool. I only correct the clips I realy use.
 
Last edited:
Dennis,

While visiting your webpage lately, I read in this article of yours:
http://www.hingsberg.com/index.php/2013/08/xavc-transcoding-with-davinci-resolve/

"Also under CAMERA RAW options. If you shot in slog2 + sgamut then select SONY RAW, Decode Quality: Full Resolution, Decode Using: Project, Color Space: sgamut, Gamma:slog2."

- and I have a question (perhaps a lame one - sorry):

Why do you mention CAMERA RAW settings at all for an S-Log workflow? TIA

Piotr
 
For slog yes you can skip the RAW tab settings, but if you have Sony RAW footage you can use these settings if you are not sure how to set them or what they do. I think by now, most people know how to adjust RAW settings and what they do.

I will make it more clear thanks for pointing it out.
 
You must log in or register to reply here.
Back
Top