NEW DAVINCI RESOLVE 11. COLOR + EDITING TOOLS.

[dyfid]

Thanks for the reply, comparing raw -> BMD FILM with raw -> Rec709 in Resolve, I see no real reason so far to use BMD but it's personal choice, I understand that.

Do you apply a BMD to Rec709 3D LUT for output or just grade the BMD output until it looks the way you want and fore go the final output transform from BMD -> Rec709?

Going to the final colour space and adding gamma is the very last operation on raw so Resolve 11 gives control over shadows, highlights, saturation etc before colour space and gamma are added, it's 16bit data so even with Rec709 gamma applied there's enough levels available to support about 16 f-stops comforatbly more than enough to play within without the need to use BMD Film transform.

Depends which way to go about it I guess, process raw -> BMD and grade without Rec709 Output 3D LUT giving all that room in shadows and highlights as it's log but having to inject contrast and saturation or work with a Rec709 Output LUT over and pull shadows and highlights into play, nothing is lost.

The BMD Film and colour space are specific to their cameras, just like the idea that a proper transform for Canon raw is required. Can't help thinking that part of the BMD Film and colour space transforms and 3D LUTs are to massage specific BMD sensor colour bias, which you can bet are not the same colour bias's in Canon raw and could be more detrimental to Canon raw rather than helpful.

I though one of the goals of DNG & CinemaDNG was to provide all the necessary data required for transforming without the need for an application to know the specifics of a certain camera, as long as those specifics are open and transparent, assume the other Camera raw options in Resolve such as BMD's exist because they don't want to provide that information.

But for Canon raw has no one profiled the cameras like FilmConvert have done, in order to add the correct info into the DNG's for Resolve and other apps to interpret? Non of the .MLV and .RAW to DNG wranglers have this functionality? Other than a basic matrix and black level?

[fisawa]

Thanks for the reply, comparing raw -> BMD FILM with raw -> Rec709 in Resolve, I see no real reason so far to use BMD but it's personal choice, I understand that.

Processing the RAW footage in DaVinci using Rec709 is a very bad idea. I tested and the results were terrible. See this topic I created with examples. At the end of the topic, I show a test of a workflow using the VisionLUT and I got similar results to processing in ACR.
http://www.magiclantern.fm/forum/index.php?topic=12824.0

[dyfid]

Your test doesn't really tell much, my comments relate to Resolve end to end rather than exporting log as an intermediate which would be the preferred route if not doing Redolve 11 end to end.

But with access to raw data and control at a raw level under the Rec709 curve on 16bit data at 32bit precision I personally don't see any point in log unless its for some 3D LUT ***kery.

Did you use the raw exposure helpers or the ML YUV jpeg based tools. The latter will give you about 2 stops under exposure I believe.

Were you also viewing through a decent Rec709 gamma curve like BT1886 or sRGB display curve the latter could appear as if shadows were crushed.

But either way its just  defaults, you have the ability to go back to raw data and adjust below the curve within the limits of the captured raw data depending on a decent control of exposure.

The colour match tool in Resolve is a helper for matching different sources under same lighting conditions not a one button substitute for eyes on the scopes and some basic adjustments primary corrections on the default raw interporation.

[fisawa]

Your test doesn't really tell much, my comments relate to Resolve end to end rather than exporting log as an intermediate which would be the preferred route if not doing Resolve 11 end to end.

[...]But either way its just  defaults, you have the ability to go back to raw data and adjust below the curve within the limits of the captured raw data depending on a decent control of exposure.

The colour match tool in Resolve is a helper for matching different sources under same lighting conditions not a one button substitute for eyes on the scopes and some basic adjustments primary corrections on the default raw interporation.

Well, for me, Resolve end to end it's not an option now, and to make decent proxies for editing in FCP/PP, using the Rec709 the colour rendition was terrible. My workflow was just a way to try to match the image to the ACR default processing, which is very nice by itself and good for proxies.

And yes, the color match tool is no substitute, but I'm just an assistant editor making proxies, not a CC 

[dyfid]

Well, for me, Resolve end to end it's not an option now, and to make decent proxies for editing in FCP/PP, using the Rec709 the colour rendition was terrible. My workflow was just a way to try to match the image to the ACR default processing, which is very nice by itself and good for proxies.

And yes, the color match tool is no substitute, but I'm just an assistant editor making proxies, not a CC 

I guessed that and understand, however all my comments related to ML raw in Resolve end to end, no proxies or log intermediates. But I query whether the Rec709 colour rendition was terrible due to under exposure. Which is why I queried whether ML raw exposure aids were used or the YUV ones. I've personally not had bad experience with Resolves raw to Rec709 output defaults using the raw exposure tools. Never mind tho.

[eyeland]

I loose a job for the stripes and noise.

I didn't see any stripes in your 5D shots, do you have any advice in terms of lighting or other to avoid it?

Sorry to go off topic..

[baldavenger]

This looks like a very handy tool for assisting with correcting footage and colour grading, and it's free

http://www.m2port.com/index.html












Too bad it's only for PC.  I tried a number of workarounds but as of yet no joy.  I'd love to get it working though as I believe it would be of great help to my work.

[budafilms]

@baldang interesting! I hope this for Mac!

[dyfid]

It's a commercial product with a time limited beta release? Oct 2014?

OS really doesn't matter as I'd assume it would be run on a dedicated machine, to get realtime playback of multiple scopes, use a seperate monitor and GPU assisted using a feed from your grading app free of any OS level colour management such as through a BM mini monitor.

Alternatives would be something like BM Ultrascope.