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Hi Andy, thanks for the update. The Color Management tools are greyed out in my project settings and I can't find the exact option to turn them on (as you mentioned in your post). Any hints? 

Thanks for your clarification.  If there was a way to fix the files, it's totally out of my reach.  But now at least I can focus on working around the audio sync manually without worrying if there's an easier way for me to do it. After that project is done I'll stick with MLVFS for sure. 

Looks amazing, I even love how scenes are not color matched (adds to the fantastic film stock feel of the movie). Can you go into detail about your FilmConvert settings?

I've done that for parts of the footage in FCPX. Can't do it directly in Resolve since it would not consider this kind of edit when outputting single clips i.e. as proxy files for editing (tried that as well, audio just goes back where it originally was after export). Manually moving the audio track in my NLE messes up my workflow since what I usually do is take the proxies from Resolve, sync them with external audio recordings in Plural Eyes and send this timeline to FCPX for editing without having to worry about that part of the process anymore. There's a whole lot of footage involved in that project I've started working on before MLVFS was around (wasn't able to keep the original MLVs, crazy amount of TB...) - Long story short: I can work around the problem but it's a huge effort and if there was any way to fix the problem with correcting metadata I'd be more than happy to know.  It just looks like DaVinci reads incorrect information on which timecode to put beginning of each audio track. Maybe there's no solution for this, other than fixing it the hard way. 

Noticed MLV audio playing as it should in DaVinci Resolve when using your awesome MLVFS. Got some old CDNGs converted with RawMagic, their video and audio are badly out of sync (audio starting way after the video). Is there some metadata MLVS is adding that I might apply to my old files as well using ExifTool to fix this? I think I saw somebody writing about this a while ago but can't find those postings anymore. 

A very inspiring and encouraging talk with Meisner teacher Anthony Montes who was about to commit suicide but then decided to turn his life around and embrace being an artist.

More about Anthony on my website as well es his own official page.

That looks stunning indeed! Which FilmConvert settings did you end up with?

Thanks for watching! 

Here's another one with German animation filmmakers in their kitchen.

This was a tough one to grade, challenging lighting conditions:

Really crazy one shot at a mall in Berlin with Silver Bear winner Joanna Arnow:

BTW, I'm working with Koji to produce a set of their luts that are optimized for Cinelog-C colorspace. More on that soon

Sounds amazing! Looking forward to that, hope other LUT developers team up with you as well!

I've used the Cinelog transfer LUT to Alexa Film Matrix, forgot to mention that indeed. - I never use proxy files anyway, it's all original CDNGs via MLVFSE until the grading is done and ready to be baked in. 

It's a really nice and reliable workflow, didn't run into any problems at all.

Used a similar workflow on the Mark III footage in a recent interview series. Worked great even under improvised circumstances. This here was graded in Reolve 11 with the latest version of BMDFilm to Cinelog -> white balance in raw tab -> basic color correction in first node -> a Koji Alexa LUT -> FilmConvert Pro 2 (with curves & grain turned off) -> some tracking masks for highlighting talent & blurring background.

The grade was basically done by Cinelog & Koji, everything else just minor compositing adjustments.

Another one with Audi Short Film Award winner Momoko Seto:

Added two more to this year's season:

I'm running an annual interview project about the filmmakers of the Berlinale Shorts competition at Berlin International Film Festival. Started in 2008 with a small handheld MiniDV camcorder, now in 2015 I'm shooting raw on my Mark III. The first interview of this year has already been released, there are more to come within the next couple of days and weeks. Some GoPro footage mixed in there obviously, but the main camera work was done using Magic Lantern raw.

More about my project: http://www.short-talks.com

Starving for GoPro Protune, Andy! 

Hey Andy, does the latest DaVinci Resolve 11 update affect Cinelog in any (bad kind of) way? The changes according to Blackmagic seem to be focused on how Cinema DNG files are read. Haven't tried it out myself, just wonder if to update or not in regards of my Cinelog workflow.

In other news Red Giant has released a whole new version of Magic Bullet and Colorista - they both work within FCPX now. Since the completely reworked Magic Bullet III has full support for LOG footage with dedicated tools and filters, this might be a good match for everybody who wants to grade Cinelog footage in FCPX & Co.! Still looking forward to whatever ColorGradingCentral is working on with the upcoming Color Finale for FCPX. Just in case anybody here is looking for a solution like this to go on working with Cinelog files outside of Resolve.   

Thank you, Lars! Would never have figured that out myself, helped a lot! 

Hi Lars, can you copy&paste the shell script with your adjustments in it so I can see what it looks like?  Need those changes, too. But I know nothing about using Automator or writing code. 

You should really read through all of Andy's postings in the Cinelog thread. All the theory, all the workflows, all the science behind the LUTs and color spaces... all you need is in there, believe me. 

In the LUT bank "Print Emulation LUTs for Cinelog-C pack 01" and "Film Looks for Cinelog-C - Pack 1" have the same archive file name and seem to contain the same LUTs. Or are they in some way different but just labeled identically? 

Cinelog is what you are looking for, I guess. It's available for Resolve and Adobe Camera Raw. You should check out their website: http://www.cinelogdcp.com/space-saving/ - There's also a thread about it on this message board, Cinelog's developer Andy is answering questions right here: http://www.magiclantern.fm/forum/index.php?topic=10151.0

That explains a lot, thanks again for your help! Looking forward to the Resolve guides. Already having a blast with the new Cinelog, it really was worth the wait. 

Hey  Andy, since there are different ways one could approach using FilmConvert or LUTs like Koji, ImpulZ, (...) with Cinelog - which order of operation do you personally prefer for ML raw (MLV) footage in Resolve?
The way I understand, it's best to go BMD 4k -> Cinelog -> AlexaLogC -> FilmConvert / LUT with AlexaLogCFilm settings. I got promising results with this workflow so far, still would like to know how you're doing it and see if that works even better. 

Apart from that: I'm still looking for a way to give my ML raw footage just a clean, natural look. No "film look" or whatever all those LUTs and filters supply, just colors that are as close as possible to what my eyes would see in real life. Even with just transferring the footage i.e. into Rec.709 color space and doing a proper white balance, colors always seem to be a bit off. Not expecting any magic here, there's a lot of correction and grading one might have to perform and I understand that there are a lot of factors concerning the ways the image is filmed in the first place. Just interested in the basic workflow you would use to just get a natural looking picture from raw filmed images. UPDATE: Alright, figured out that I shouldn't be too shy of using the tint control in the camera raw tab. That solved it for me.

Thanks again for working so hard on Cinelog and answering all the questions on this board. The way I see it, you just revolutionized raw post production for Magic Lantern in a way no other third party developer has done so far.