Thank you for the quick reply Andy600. I think my question was based on a bad assumption as to my understanding of how Lightroom
might work in conjunction with Cinelog DCP 2016. To use a bad analogy, my project level probably requires a plastic bubble level, and I'm wanting to use a self-leveling rotating laser level, so I appreciate your response given my lack of understanding. If the following is already answered by your previous post, I apologize, and will take a lack of a response as an indication of such.
My problem is finding a solution to recovering as much dynamic range in my footage as possible, without introducing additional image degradation, and maintaining as simple a workflow as possible. I'm sure that problem is unique to me
For a specific example, I opened this
http://db.tt/dPPBr3wH file in Resolve.
Here is how it looks without changes directly from Resolve:
Here is how it looks after checking the highlight recovery box and moving the highlight slider completely to the left:
Here is how it looks in Lightroom after adjusting exp., highlight recovery, and shadows:
Here is what I would typically consider my desired end result, which was edited in Lightroom:
The clouds in Resolve exhibit an odd pink cast and a slight posterizing effect. This example is one of the better outcomes of using Resolve's highlight recovery tool. Often times, the results include an extreme checkerboard effect of pink blocks in the recovered highlights area. The obvious solution would be to use Lightroom, but that may or may not introduce the dreaded flicker problem. What I don't know is if/how adjusting my workflow using Cinelog with Lightroom would allow me to achieve a similar desired end result. This is more than likely a case of me trying to use the wrong tool the wrong way for the wrong job. Thank you again for your help!
