DaVinci Resolve 18 ProRes RAW Color Managed Workflows | RCM & ACES

[Music] in today's video I'm going to show you guys how to properly set up DaVinci resolve's color management for prores raw files converted to cinema dng we are going to look at DaVinci resolve's native y RGB color management and Asus workflow as well as two plugins that are common within the industry and how you can use the cinema dng files there as well if you are watching this video and you did not know that there is a process out there that allows you to convert your promos raw files which is a true non-processed non-debayured raw into Cinema dng which is also a true non-process non-debaired raw go ahead and click the video up top and you will learn all about it and then come back here but without further Ado let's get right into it [Music] thank you [Music] let's start with DaVinci resolve's NATO y RGB color management so the first thing you're going to do is you're going to go to file project settings and I want you to go into the camera raw tab go ahead and select Cinema dng and from there change camera metadata to project and then I also want you to uncheck apply pre-tone curve I have found that you have more dynamic range within your footage without pre-tone curve on because it doesn't do any processing before the nle debayers it from there I want you to go ahead and select Blackmagic design as the color space and the gamma from there we can go to our color management tab this is where the proper setup happens go ahead and select DaVinci Resolve y RGB color managed from there under the preset I want you to select custom now for our input color space we're going to select bypass and if you do not see bypass go ahead and select same as timeline DaVinci Resolve 17 has bypassed DaVinci Resolve 18 plus has same as timeline for the timeline color space I want you to select the rec 2020 intermediate for the output color space you need to select whatever color space and Gamma your mastering display is set to for today's tutorials purposes we're going to go ahead and select standard dynamic range which is also known as Rec 709 gamma 2.4 and from there you are done you can go ahead and select save and now your footage should be converted into Rec 709 from here what I like to do is I like to start in the camera raw tab I use the camera raw tab to really give myself a nice starting point sometimes I find the camera raw tabs adjustments are enough and I don't need to use the primaries however if I do feel like I'm going to need more adjustments than just the camera raw tab I'll be more conservative with my adjustments in the camera raw tab leaving me with a flatter image and then I'll go through and refine it in Node 1 with the color primaries from there you can go ahead and build out your node tree as normal [Music] the next workflow we're going to talk about is the Asus workflow now this workflow can be tricky because there's a few things that you can't do and there's a few things that you must do so let's start with the things that you must do the first thing you must do is set your camera raw settings first and then save them before you go in and change the color management so if you did not watch the previous section of this video you're going to go ahead and go to file project settings camera raw you're going to select Cinema dng uncheck apply pre-tone curve change camera metadata to project and from there we're going to select our color space and Gamma as Blackmagic design go ahead and hit save now we can go back into our project settings file project settings to the color management Tab and we can select Asus CC if you would like your colored tools to function more as log you can go ahead and select Asus CCT but for most cases Asus CC will work we're going to go ahead and select Asus 1.3 under the IDT section which also stands for input device transform we are going to select no input device transform this may seem counter-intuitive because we did set the color space in the gamma to Blackmagic design however all of that is bypassed when working in raw with DaVinci Resolve for our output device transform you're going to go ahead and again set that to whatever your mastering displays color space and Gamma is set to again for the purposes of this tutorial we're going to go ahead and set that to rec 709 in gamma 2.4 if your settings look like mind you on the screen you can go ahead and hit save and you should automatically be in Asus now one thing to note when you're working in your camera raw tab do not go into the camera raw menu reset or revert the options what that's going to do is that's going to take you into Rec 709 and that's going to throw off the Asus transformation I don't know why it does that Cinema dng can be a little bit finicky to work with in resolve the other thing that I want you to know is that you actually do have to be a little bit more conservative with your highlight in your Shadow adjustments and Asus I find that I'll get weird artifacting in the highlights or in the shadows if I push them too far so if I need to make an extreme adjustment in the highlights for example I'll go ahead and actually just move the exposure slider and then because I have so much information within Asus I'll go ahead and make a Shadow adjustment most of the time when I'm working in Asus I find myself making my adjustments also in the primaries as well but after you make your primary adjustments in the first node you can go ahead and continue to color grade and build out your node tree as normal [Music] as a bonus let's go ahead and talk about two popular plugins on the market cinematch and film convert the cool thing about both of these plugins is that they're camera specific it's a camera specific form of color management meaning that the sensor has actually been profiled with its color science characteristics and it uses that to transform into Rec 709 especially in the case of cinematch where it's taking one color science matching it to another camera's color science and taking you into Rec 709 the cinema dng is different on Mini cameras and Cinema dng hasn't been used for quite a while due to the red patent again Watch the video that I told you to watch in the very beginning and we can talk about that there but I have found what seems to be a pretty close way in my test to use our Cinema dng files with film convert and cinematch but they're a little bit different for both the plugins four film convert I find myself using this Sigma FP profile this is because the sigma FP profile actually has Cinema dng Blackmagic design film as an option so I select that as my camera for cinematch I do things just a little bit differently I actually select blackmatch design as my camera manufacturer and I select the production camera and use the film preset now there's a couple other cameras in there that also have this film preset with the full amount of data remember you'll see Limited in full limited means like prores 422 log footage full means raw when testing out my footage comparing it to the Nikon z9 with Cinemax so the Z cam E2 F6 prores raw Cinema dngs matching that to the Nikon z9 I found the production camera was actually the closest so that is what I would recommend for you guys to do and you would continue to use the plugins from there as normal I hope you guys liked this quick and to the point workflow setup if you guys would like more in-depth information on color grading and how I build out my node trees be sure to check out my YouTube channel as I have tons of information there be sure to hit that subscribe button give me a like leave a comment down below and turn on those post notifications if you have not be sure to follow me on my social media the links are in the description down below as well as the YouTube fam their links are also in the description down below my beautiful people now more than ever if you are ever feeling uninspired uncreative or just want to give up on life remember every day airplanes take off Against the Wind keep climbing stay inspired and as always stay fabulous my name is Sydney I will see you beautiful people next time peace out

Channel: Sidney Baker-Green

Views: 25,968

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Id: 9t-m2t8uP98

Length: 8min 11sec (491 seconds)

Published: Mon Oct 10 2022