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Thanks, but osiris (or every other lut) looks completely different in resolve (bmd film, rec709 to LOG, whatever) than in ACR with vision LOG and lut buddy. Colors are different (for example m31 lut: in ACR grass is greenish blue like blockbuster teal orange look if you know what i mean but in resolve its becoming much more yellowish, completely different look when theoretically should be the same. Visionlogs luts consists of lut (rec709 to log) which in theory should be the same as their visionLOG profile for ACR just to have the same starting point. I am sure, that with some tweeking one can match resolve with acr but i wonder, which app represents the effect creators of those luts wanted to achieve (acr looks nicer imo but resolve is so much faster).

Yes it does have some difference when using ACR and Davinci, i think it's of the way how davinci uses the RAW data differently.
Vision color announced that they are working on custom profiles (UCS) for color editing software.
Here is a quote from their site, perhaps this will solve the issue?

VisionLOG UCS™ converts footage from a large number of both high and lower-end digital video cameras and motion picture film stocks to a universal LOG color space. Not only does this allow for accurate camera and profile matching but also drastically increases color accuracy for film emulation LUTs and presets. VisionLOG UCS™ will be released in open LUT formats to maximize (non-destructive, 32-bit float) post-workflow compability. Third-party preset developers will be able to obtain flexible licenses to incorporate VisionLOG UCS™ into their own products.

Loving Resolve 10.
Definitely the added support for OFX is really nice, really loving it that i can add filmconvert directly to a node now instead of afterwards sending it to AE.

I was making some comparisons resolve 10 vs ACR, i am using vision color osiris pack, tried m31 lut and it looks completely different in resolve and ACR. In ACR i use vision log profile, after applying m31 it looks very nice, in resolve with rec708 to LOG>>M31 LOG it looks awful. Could someone post a proper way of applying osiris luts in resolve? Thanks

I haven't tried the Osiris pack in ACR yet, will try it soon.
My workflow for Davinci is to set the CDNG color space from the clips to BMfilm and then apply the M31 LUT to the first Node.
Applying a rec708 to LOG LUT doesn't get the extra RAW data, it just flattens the picture (Not getting the RAW data back) whilst in ACR it's not a LOG LUT you apply but just turn the RAW data to a flat image so it's like LOG color profile. (or in the case from Davinci BMfilm for RAW HDSLR)

What kills me is when I get some beautiful, vibrant shots that I plan on grading with software I just spent a couple hundred dollars on, only to be told that they want it in black and white.

Haha this quote just made my day!
I've walked the same path a few times, and it's just horrible haha

Haha I like your node names. Beautiful frame too.

Ghehe, i made that screen grab for a friend of mine who wants to learn a bit about my color workflow so a gave them a few names so he would understand it a bit :p

Just use the multiples starting from 100 (100/200/400/800/1600/3200 etc)

It's RAW from the mark III, lovely camera
I really like davinci resolve, the controls and speed is very useful and the UI is easy but good.
Only downside is that you'll need a good mac haha (but that's why it's a dedicated piece of software right?)

I use the LUT's from Vision color and so far the LUT's have been very good for me.
Last project i did was a 48 hour film project in the Netherlands and to grade the footage a LUT took away a lot of time.
Now i'm grading a bit more for perfection, so i'm regrading the film but i still use the LUT's provided by Vision Color.
The movie we made with this LUT was also awarded best movie by audience and public for the 48 hour film project in Utrecht
Here is a quick screen grab from the current grading (I used the M31 LUT from their collection for the interior shots)

I've been looking in to the HDR function of Resolve (which only works with R3D files) but if we manage to somehow  convert our cinema DNG's to HDR DNG's so resolve would recognize them then we could bring back a lot of data which is now lost in the footage.
What HDR on R3D files does is make a over exposed image and a under exposed image and put them together in 1 file.
If you add 2 inputs in your grading area in Resolve you can pull back the highlights from the underexposed shot and add more shadow details from the other exposure, all manually!
However, i cannot find how this file structure is created and Resolve only accepts 1 layer at a time (unless it has the HDR file encoded in there somehow)

It's a problem from davinci unfortunately.
If you import the same footage in ACR you will find out that the pink highlights are gone.

I can't understand how you are all satisfied with this workaround. It's just a blur of the color information, so it leads to noticable degrading in areas with high color detail. There has to be a better way, we shouldn't stop looking for it just because we have a workaround that kinda works in some situations!

Nobody said we should stop looking, there is always a better solution.
But if this solution works for some people, then what is the big deal? working with RAW has still a long way to go to become an easy workflow, so we still have time to look for solutions.
I, myself hope that this will be fixed in Resolve 10, but we can only wait and see.
Until that time, i'd suggest looking for a solution is a better idea than go around and telling people that a workflow isn't ideal.

THAT WOULD BE AWSOME!!!!! your work is excellent!!!

Actually i have a lot of questions for you when it comes to sharpening in resolve. Have you compared the sharpening you can get in resolve with ARC? I find from my tests that ARC has a much more organic sharpening then resolve lite. For some reason when i sharpen in resolve even with the methods above i get a very artifacty looking sharpness and ACR just seems more like film grain. Am i doing something wrong? Would love to here your thoughts because i love the workflow of resolve but im stuck on the look of ACR.

Never made it to do the tutorial, sorry about that but i will make one in the near future!

About sharpening, the sharpening in ACR is much nicer than in resolve, since it uses a more unsharp mask instead of normal sharpening.
But ask yourself, how much sharpening do you need in your shots? most of the time i add just a little bit and let film grain do the rest.
Since it's a moving picture, sharpening in my opinion is very overrated.
By adding film grain, the picture looks much sharper and organic than if you would only add sharpening to your picture.

This whole fringing/aberration problem has been a huge obstacle for me.

Thank you for making this information available! I haven't tried this out yet, but I will be back to share my results.

If you make a color profile with only this effect/setting and save it as a still, you can apply it to all your shots by using right click and "append node"
If you choose append node instead of add correction you will find out that it only adds the effect to your current correction instead of erasing the last correction and add this effect

I had this problem once, now it s back with july 22nd built.
if i press half shutter (usually to go back to live view), the mirror always swaps up and down, like it s taking a picture. but it does not.
any idea of what this could be?

Sounds like auto focus without live view.
Try setting off auto focus or change live view autofocus to one of the other features.

Have you exported the file yet?
Somehow the preview isn't 100% full quality if you don't use an external monitor through a SDI card.
If the problem still persists, could you post a frame from the DNG so i could take a look at it?

Do you have any examples for us to look at and criticize?
What i have learned over the few years i've been in the business is that you learn the most of letting your work evaluate by others.

Hi,

This is my first post. I try not to bother community with stupid questions but I really don't understand what I'm doing wrong.

I would love to use the workflow RAW -> DNG -> Resolve but I have some magenta edges on Resolve that I don't have with ACR.
Here is a test I shot, H264 compression reduce the problem but it is noticeable in 1080p :

I've seen this solution but it is very a long process doing it on every clip...

It's actually really easy to reduce the magenta on every clip.
Get a blank correction (not corrected image) and follow the steps from my post you linked to.
Now when you added the effect to reduce the pinkyness just save the grade/still (right click on the image > grab still)
You now have a still from the effect, if you now open a new image you want to grade you only have to right click on the still and click "Append  node graph", This only adds the effect to the existing grade without changing or removing any other nodes which would happen if you choose "add correction".
Now you only have to do minimal adjustments if you don't like the outcome of the effect and your done.
No worries anymore of doing the complete procedure over and over each shot.

Hi Guys,

This video was shot with a 2 man crew for camera/light in 1 day.
It was all shot in 2.35 to 1 aspect ratio since the Komputerbay 128gb CF card 1000x was used which doesn't record 1080p continuously.
The clip was shot in both 1920p 24fps as well as 1856p 50fps.

My workflow was as following:
-Conform RAW files to CinemaDNG's with RAW Magic
-Use Automator script to add a "C" to the filenames so Davinci recognizes it as movie files instead of folders.
-Create Proxies with Davinci Resolve Lite.
-Edit in Final cut pro 7.
-Export XML for roundtrip to Davinci.
-Import XML in Davinci and manually relink footage to original CinemaDNG files.
-Graded in Davinci while primarily using "Captain Hook's BMCCfilm2Vid LUT" (found here: http://www.captainhook.co.nz/blackmagic-cinema-camera-lut/) and added sharpening/reducing pink dots.
- Export and import again in Final cut pro 7.
- Key out the greenscreen, add background, added the final master of the song and added some sound effects.
- Export using compressor with a high bitrate for minimal quality loss on youtube.

And there you have it, my workflow for this videoclip.
The song itself is a parody on the song "Jack" by "Breach"

Varia, lovely place!
Been there 2 times, first time we couldn't get in and the second time a piece of cake
Nice to see another urbexer here who is active in Belgium

Thanks, gonna try it out soon

@scarluuk:
I dont have to change anything in the names, and can use the CDNG folders in resolve rightaway.

It's a bit hard to explain for me, English isn't my native language.
Adding the C makes Resolve interpret the folder as a clip instead of a folder.
Normally you have to open the folder the see the clip, now you can see the folder itself as a clip so it's easyer to browse through your clips.

Just found a way so that Davinci Resolve Recognizes CinemaDNG sequences while they still remain in the folder where all the files are.
This makes it a lot easier sorting and browsing trough your video's without having to open an extra folder before you can see it.
I don't know if i'm terribly late with this discovery or one of the first but just wanted to share it with you guys.
You can see what i mean in this picture:


This saves a lot of time and frustration, now i don't have to put all the CinemaDNG files from different video's in one folder so i could browse through them.
What i did was take the name of the folder of a shoot i did with the Blackmagic Cinema Camera and just renamed one of my 5D RAW map names to this new one.

Edit: Just scraped a lot of my findings since i just found out that all you have to do is add a C befor the last four numbers.
Example, if your file is called "M16-2227" all you have to do is change it to "M16-C2227" and Davinci Recognizes it as a movie instead of a folder

helios bokeh, nice!

Merging an HDR from a single DNG graded two different ways is totally pointless and won't give you anything that the original DNG didn't contain. You have to have DNG's that were recorded with different Exposure Values to get anything useful. The main concept behind merging HDR's is that a single image cannot capture the full luminance range, clipped white values for example. So if you have an under exposed DNG to capture the shadows and and over exposed DNG to capture the highlights merging them together will give you an HDR that has a full range of values from light to dark.

And that's the beauty of RAW, it contains information that's not within the Dynamic Range of what the picture is showing.
Sure, you can throw one DNG into Photomatix and see where that will get you but it's the way photomatix interpreted it that makes it a different story.
Also, you could try to make one overexposed DNG with some noise reduction applied to it and a normal under exposed picture, this will get you better results than just throw one DNG in there.

And yes, it's better to capture multiple exposures, but with RAW video we simply don't have the power for it, so this double processing is a very good alternative!

Edit: This guy explains it much better:
http://captainkimo.com/single-exposure-hdr/

Can you confirm this workflow improves on this?

Basically it's almost the same, didn't knew somebody else already made a video about it haha.
Thanks for sharing your video, just one question, why add an extra node to the bottom layer?
Edit, never mind the last sentence, by adding an extra node you can preview the changes without messing up the gamma or saturation.

If i find the time this weekend i will make a small tutorial to show my workflow in Davinci