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Messages - DanHaag

#51
Thank you, Andy! Can't wait to check it all out!  :)
#52
There are free alternatives for sure. Lots of great and not so great videos & postings all around the web. Nonetheless, after watching literally everything the web had to offer, I paid for a CGC subscription to really get started with Resolve. The main advantage over the free stuff is that you get the complete package and have it available at one place. No searching the web for information on certain tools or aspects of color grading, CGC has it all covered. In case you just wanna learn the software from scratch, it offers an easy to follow structure to do so step by step. The best part for me is that as a subscriber you can download the tutorial videos (so you can watch them after your subscription has expired, you then just won't get the new stuff that is added on a regular basis) and CGC's Denver Riddle is available to you if you have any questions or need further assistance. Wrote him many times, always got a helpful response within one workday.

I think the same goes for similar online tutorials offered by color grading veterans. I'd totally recommend investing in one of those professional programs if you're new to Resolve. CGC was my pick and I can totally recommend it to any DaVinci Resolve newbie that really wants to understand every aspect of this powerful piece of software.  :) Also saves a lot of time you'd spend searching the web for information - in my eyes that alone justifies spending the money.
#53
Raw Video Postprocessing / Re: Koji Color Log + ML Raw
December 29, 2014, 06:39:50 PM
Thanks for sharing, mate!
#54
Raw Video / Re: What's your method of exposing properly?
December 08, 2014, 10:00:01 PM
I prefer using zebras for the same reason. It also helps to locate possible issues on the set and fix them prior to shooting. Like moving the lights or changing the actor's white shirt. So it doesn't just support your choice of exposure but also helps making quick decisions in other regards since you can spot the problems right on your viewfinder.
#55
Quote from: DeafEyeJedi on December 08, 2014, 01:02:56 AM
C,mon guys cut some slack for @Andy600 since he may be busy with life just like all of us, rightfully so.

The thing is... he promises a certain release window. I tell people that I wanna postpone color grading for a project because I wanna give his new LUTs a try and see if there's any improvement on the basic Cinelog conversion itself. The promised update just doesn't show up, no word from Andy,... so I've waited for nothing and just lost precious time, also disappointed all those who are involved with the project. Just one example of why it's a huge difference if he promises a release window or just says "when it's done" and admits that he doesn't know when all he has planed will be finished.

Again, in my opinion he should take all the time he needs to deliver us - his paying customers - the great product he set out to make. And I think his work so far is amazing, happy to be a supporter. But after failing to hit his own deadlines a couple of times before, he should've learned to just don't promise people any kind of release date.

In any event... I'm so looking forward to his new stuff.  8)
#56
Just stumbled upon an app called Lattice. It's a software to easily review, transform & export 1D/3D LUTs. Isn't this a tool one could use for adjusting LUTs like Osiris, ImpulZ, Koji and Speedlooks so they suit ML raw footage better - especially ML raw footage in Resolve's BMDFilm color space?

I'm no expert on this whole topic and didn't buy Lattice yet - anybody here who uses Lattice or has an opinion on it? Worth a try?
#57
Share Your Videos / Re: 4k anamorphic raw music video
November 30, 2014, 06:53:31 PM
Thank you so much, that posting helps a lot.  :) And again, really nice work, great video!
#58
Share Your Videos / Re: 4k anamorphic raw music video
November 30, 2014, 03:32:59 PM
Thanks for your answer, I second that. White balance etc. shouldn't be an issue when shooting raw but a clean image with proper colors and lighting just makes it so much easier to start grading. Did you use any LUTs? Was the footage set to BDMFilm in Resolve? I'm interested in your workflow prior to the actual grading process. How did you prepare the ML raw footage within Resolve before doing your own corrections and grades?
#59
Share Your Videos / Re: 4k anamorphic raw music video
November 30, 2014, 01:57:38 AM
Nice work!  :) Can you share some information about your color grading workflow? Especially in terms of skin tones, those look pretty good. 
#60
Raw Video Postprocessing / Speedlooks Version 4
November 27, 2014, 08:47:06 PM
I've bought the new Speedlooks Version 4 Studio LOG package for usage in DaVinci Resolve 11. Since there's no "official" camera patch (aka conversion LUT) for ML raw footage, I've reached out to Looklabs and asked which workflow they suggest.

Quote from: Looklabs"Once you convert your RAW to REC. 709 you should then apply our new universal camera patch (Rec. 709 To VS-LOG). From there you can add a SpeedLook over top and color correct in between the two layers."

So pretty much the obvious way to go when there's no specific single conversion LUT in between. Haven't yet tried their suggested workflow, but got some good first results using BMDFilm 4k -> Cinelog 2.0 + Arri Alexa camera patch (that came with Speedlooks). Still prefer the look that I get with BMDFilm 4k -> Cinelog 2.0 + Koji Color LUTs.

Can't share test shots since all my footage is part of work in progress projects. Does anybody else use Speedlooks with ML raw? Please share thoughts/workflows/impressions!  :)
#61
Raw Video Postprocessing / Re: Koji Color Log + ML Raw
November 24, 2014, 01:54:58 AM
Quote from: beauchampy on November 23, 2014, 12:50:21 AM
Just to clarify. The Cinelog LUT I'm referring to isn't part of Koji, it's this:
http://www.cinelogdcp.com

No confusion there, bought Cinelog a while ago.  ;) Your blog post is perfectly clear on what you did, my questions were solely pointed at beauchampy's workflow since there's
been some confusion with how LUTs are labeled in his description. But he answered that already, now I have better understanding of what he did. After doing my own tests with
Koji Color LOG and different LUTs/Settings, I prefer your workflow with Cinelog and Arri LUTs. Thanks again for sharing! :)

Quote from: beauchampy on November 23, 2014, 12:50:21 AM
Now, if you were to do it without Cinelog, Koji recommend you use their Canon DSLR LUTs on 5D Raw footage and bring the saturation down a little.

I wrote them an email asking for their own ML raw workflow, here's the official answer:

Quote from: Koji ColorWe should make this a bit clearer.  Our recommended workflow is:

- In Resolve, choose "BMDFilm" in the raw settings for both Color Space and Gamma.
- Apply one of the Koji BMDFilm to Rec.709 LUTs.

That's it - just one LUT.  I know it sounds strange to use BMDFilm since you didn't shoot on a Blackmagic camera, but it's 100% correct.

Tried it and it looks "ok" but it's no match for the way superior looking Cinelog route with the Arri LUTs.
#62
Raw Video / Re: ML .RAW plugin integration OS X
November 23, 2014, 03:30:46 PM
Second that - still something Apple would have to implement. I'd suggest posting the request on their official support forums for FCPX.
#63
Raw Video / Re: ML .RAW plugin integration OS X
November 22, 2014, 08:24:29 PM
Quote from: reddeercity on November 22, 2014, 05:26:48 PM
I just would like to see better support in FCPX with raw.

I don't think support for a certain format is a task anybody else but Apple could enable within their FCPX. 
#64
Not long ago I've started a finger puppet show on Youtube. Except for the bits and pieces I've pulled from other sources (legitimately used for satirical reasons) all the finger puppet parts were filmed with a Canon 5D Mark III using Magic Lantern raw.





This other episode is only available in German:



I'm gonna continue making more Filztheater, so feel free to subscribe!  ;D
#65
Raw Video Postprocessing / Re: Koji Color Log + ML Raw
November 18, 2014, 07:49:57 PM
Sorry, still confused as I can't find any Cinelog labeled LUTs in my Koji folder.  :-\

I have Koji LUTs labeled CLog and Cineon but nothing else that sounds like Cinelog. And as far as I know CLog is Canon Log but not Cinelog.

Could you please give me one example combination of LUTs with the exact (!) names as they are officially labeled?

Something like: [INPUT]_BMD_FILM_4k_Cinelog-C ---> Koji_Arri_LogC_to_Rec709_2393

Just to clear up any confusion regarding which LUTs you are actually using. :)

Hope you can help, thanks in advance!
#66
Having done my own tests with Resolve's Rec.709 option, I'd suggest not using it at all. It doesn't work well with ML raw files, the results are far off and you lose all the benefits of CDNG right away.

What I use to do is set color space to BMDFilm 4K and from there on use a LUT to get scopes into Rec.709 range. You can use the famous Hunter LUT (free) as well as
Vision Color's free VisionLOG in addition to "VisionLOG to REC.709/Neutral" or a workflow with the paid Cinelog LUTs. They all give slightly different images to start with but after adjusting the color temperature and exposure you'll always end up with better results than using Resolve's built in REC.709 feature. Plus you keep all the benefits of raw. The BMDFilm color space is basically just a starting point for the LUTs
and all options listed above are (according to their creators) designed with the behaviour of ML raw set to BMDFilm in mind. 

If this doesn't work out, there might indeed just be something wrong with your files, I guess.  :-\
#67
Share Your Videos / Re: Painter - 5D mkiii RAW
November 18, 2014, 04:48:40 PM
Quote from: andresharambour on November 18, 2014, 02:47:21 PM
A few months ago I paid for a 6 months subscription to colorgradingcentral.com and was totally worth it.

Second that! :) Did the same thing and it was totally worth the money. Helped me learn Resolve in no time, without any prior experience with the software.
It's also a great way to learn understand color correction as well as grading in general and the best thing is Denver Riddle (who runs CGC) helps you along
if you have any additional questions. Wrote him a couple of times and he always responded within the same day.

There's also an option to download all his tutorials so you can watch them even after your subscription has expired. He keeps adding and updating new videos for active members, though.
Gotta mention that he's not experienced with Magic Lantern raw. So he can help and his tutorials are aimed at general workflows for raw/log shooting cameras but wasn't always able to
provide answers specific to the nature of ML raw footage. On the other hand his tutorials helped me figuring out most of this stuff myself. In any event, highly recommended! ;)
#68
Raw Video Postprocessing / Re: Koji Color Log + ML Raw
November 18, 2014, 12:29:06 AM
Quote from: andresharambour on November 17, 2014, 02:18:53 AM
Hey guys,

I just wanted to share this short comparison of Koji LUTs being applied to a clip that had Cinelog LUT applied to it.

Looks great! Did you use the same "Cinelog -> Koji Alexa" combination as beauchampy in his blog post or follow another approach? Your subtitles say "Koji: Cinelog to Rec.709 ...". So did you convert to Rec.709
using Cinelog and then add a Koji Generic Rec.709 LUT?

I bought the Koji LOG package and got some fantastic results using it with Cinelog 2.0 and the Alexa versions of the Koji LUTs, just like beauchampy. Would still like to try out other workflows.
#69
Have you tried adjusting exposure, white balance etc. in the camera raw tab of the color page (or in the project settings)? Sounds like DaVinci
just get's the wrong meta data to start with. As far as I remember standard settings for exposure in cam raw (those settings are still accessible & applied, even when
choosing REC.709 profile) have always been way too high and color temperature had to be adjusted. Don't do this within your node structure though. Always start with cleaning up your CDNG footage
via camera raw settings prior to any other correction or grading.
#70
Hi ML friends,

finished my very first commercial work shot on Mark III & ML raw. Client was more than amazed by the quality as he was expecting the usual DSLR look. ;)

Took me a year to figure out how to get there without doing too much guess work on set or in post. Let me know if there are any questions about workflow or whatever else. Since this board and other websites helped me a lot to figure all this out for myself, I'm happy to help others now. There's more ML raw work in the pipeline right now, most of it looks even better since I keep progressing in terms of color grading. :)

All videos here were shot on 24-105mm f/4L IS USM AF and EF 85mm f/1.2L II USM from Canon. I post processed & graded in DaVinci Resolve 11 with VisionColor ImpulZ LUTs, CineLOG 2.0 & Film Convert Pro 2.
I've used different variations of LUTs and corrections depending on the individual clips. Some for example worked very well with BMDFilm 4k to Rec.709 conversion via X-Rite Color Checker plus an ImpulZ Rec.709 LUT. For others I did a more complicated chain of LUTs with BMDFilm 4k to Cinelog 2.0, Film Convert & ImpulZ. I tried not to use the Camera raw tab too much,
but used it carefully for final touches (like retaining details in blacks/highlights) as well as white balance.







There's some more on my website and Vimeo channel.

I'm currently working on a short film with ML raw, there's a first teaser for that right here. This was graded with FilmConvert Pro 2 in Resolve 11 only. Shot on Mark III with 24-105mm f/4L IS USM AF.


I've recently bought Dale Grahn's amazing Koji Color LUTs and since then changed my workflow to work with these. Hope I can share the results soon - they are way superior above everything else I've posted here. :)

One more time I wanna thank the Magic Lantern team for their outstanding work! Preparing a donation to you guys, as everyone and his dog who uses this for commercial purpose should!  ;)