This has become my favorite way to work with CDNG files converted from ProRes Raw. Although converting isn't ideal, I still feel like I am working with a completely different camera. Let me know if you have any questions!
I'm the guy who complained about SSD bottlenecks. Now I am using your approach exclusively. What a difference! A $1500 Z Cam to Ninja V is producing drastically better footage than a new $4500 Canon camcorder. Thanks Sidney!
Hello! Great job! Thank you so much! I tried to replicate your instruction and when I go to color BMDS18.6, camera settings are grayed out. Try to create a new project and in color, the camera settings are grayed out as well. Any suggestions? Cheers.
Oohhhh my god, I do Timelapse in DNG and I think that thanks to your video I have finally managed to get da vinci to provide me in a simple way, get better starting results.. thanks
Another GREAT tutorial Sidney... one of the few TH-cam channels where I learn something new every time I watch! Thanks for taking the time. One question. I'm shooting on a E2-S6 and recording on a Ninja V. I could record RAW... but then there's the conversion process to DNG to be able to work with it in Resolve. I'm working on a PC. So, my question is... wouldn't it be better to record in DNG and how would I set up the camera?
Great tutorial!! been scouring the internet for weeks for such information. Currently shooting on iPhone 14 prores raw 422 hq codec and this may be the answer to my struggles on da Vinci. I just have one question regarding luts. You used the da Vinci film looks , but I would like to use the sony cinema line luts (as they are free and I like the look of s-log footage), what would you do different in camera raw colour space or the corresponding cst after (around 11:50) .
Thanks for the video, great one since I been looking on how to grade, dng files, since I have a Siga FP camera, I have a curiosity, at minute 8:50, you started the color grade and you did it, after the second Color Transform node and not in the middle of the two, and in when you did the skin tone, you didn't go from the alpha of the parallel to the layer node, for the skin adjustment in the layer node, time 9:48. Once again thanks.
I noticed something quite interesting today using ProRes RAW. I CANNOT use Final Cut. I just cant. I've been on resolve for years and I do not plan to move away. I use RAWConverter to convert my ProRes RAW from my FX30 to CDNG to use in Davinci Resolve. But after the conversion, Davinci has no idea if its in legal or HDR anymore. So the clips I record that looked fine on the Ninja, are now super blown out (and would be entirely unusable if it wasnt RAW) but since it is RAW, I turned down the gain, and then the exposure just a tiny bit and not only was it back in legal range for r.709, but there was no noise??? I found that really odd. But I was wondering why my ProRes RAW shots that get converted to CDNG always come in WAYYYYY over exposed. So I went back out, switched out of PQ mode (as everyone says you should monitor on the NinjaV...but I dont deliver for HDR) and went in R709 instead, and the shots came in exactly how they looked when I was shooting. Very interesting - and ofcourse noise was in those shots as there normally would be. Again, I think this is because im converting the files so Davinci has no idea what to do with it to make it legal. But I Thought that was interesting to share that if you record ProRes and use a RAW coverter to work in Davinci, monitor in PQ, with a little knowledge on how to use the RAW tab to bring the clip back to legal range - I feel like I just completely removed the need for noise reduction completely. Here's how I set up my resolve for this (because I found this very interesting to share) Davinci YRGB Color Managed Input Color Space: ARRI Logc4 / ARRI Wide Gamut 4 (its RAW, you can say your input is whatever you want lol) Timeline Color Space: Davinci Wide Gamut 5 / Davinci Intermediate Timeline Working Luminance - SDR 100 (since everything I do is in r709...for now) Output Color Space: R709 / Gamma 2.4 Camera RAW Tab: CinemaDNG Full res. Project Highlight Recovery (on) Camera Metadata As Shot Black Magic Design Black Magic Design Film I import the CNDG clips, theyre so insanely blown out, I take the clip into the timeline, go the my color page, lower the gain to a reasonable setting, then lower the exposure tab a bit more until im within legal range. Then BOOM! Now I just go to town on giving the shot a look! My last 2 nodes are usually a CST r709 to Cineon Log Film then a Kodak Film Stock as my last node. All the nodes before it is qualifiers, tiny bit of tone mapping to recover some shadows if I want to, and then O/T (yes, im a sucker for Orange/Teal...but lately been digging more "moody" looks) and at the end? There is literally no noise. Even pixel peeping I see none. If I want a really sharp image? I just increase sharpness by a small amount...if I dont? I add a tad bit of film grain and it looks FANTASTIC. Yes, quite a bit of a workflow but once you know it - its done really fast and you dont have any NR going on slowing down your PC and your CPU or GPU yelling at you. Very interesting find. Maybe others know about this and im still just a noob XD but I thought this was really cool to share. Just been browsing YT to see how others are exposing for ProRes RAW but realized "Wait, but you convert your RAW to CNDG...your workflow will be different!"
@@sidneybakergreen Sorry, this is wrong. I know a lot of pro colorists, me included, who also use keys and windows up front in the node tree. This can be tricky to key, but it has the advantage that you don't have to adjust the key when contrast or exposure changes. Check Tyler Roth (Company3) insights on Lowepost or Demystify-Color, you will be teached! And don't be one of those guys spreading wrong information on TH-cam, there are more than enough.
Really nice video! But I have a problem or maybe I don't understand RAW at the moment. Why are my clips so unbelievable contrasty after I converted these into .dng files (with RawConvertor? Is that normal? It cant be because especially night shots look just dark. No informations in the dark areas at all.
@@sidneybakergreen Thanks for your superfast reply! I watched the video, did the settings change but almost the same. My .dng files look way more contrasty than a clip captured directly in 709. When I look at the preview in the RawConvertor, it looks normal, flat, informations in the shadows. After the convert, just black. Even when I open a dng file in Photoshop. I'm a tottaly newbie in Raw. So thats not normal? Or is it?
@@1PYRO8 in raw converter my images look over exposed, so you may be under exposing? When I shoot log with the same raw settings, my images are over exposed
@@sidneybakergreen Hmmm…When I shoot at daylight, the image looks overexposed in the the converter, like yours. True! Maybe I just underexposed the night shot, could be! But its almost impossible to expose that hard to bring the shadows back because its so dark and contrasty. I‘ll try 🤷🏻♂️. Thanks again.
Amazing info here! wow~ A few questions... 1- I thought P3D60 was a color space used just if we were planning to use the footage for big screen.. is that the case? 2- Where I get confused is between ProRess and ProRess Raw... are these two codecs considered as a different way of log? Thank you in advance! cheers!
P3 D 65... 65 . Yes that’s generally used in cinema. However, TH-cam doesn’t support that. No. Log is log. Raw is raw. Raw is a set of Red Blue and Green values which can be transformed into a color space. Log does have a color gamut and color space
@@sidneybakergreen ok am still confused about HDR grading watched your tutorial on HDR grading i have much interest on steps to becoming a colourist bro is been a long time you showed up on your chanel hope all is well i actually benefited from your tutorial on how to manage depression i have been passing through a lot thank God i had my notification on i really come to understand is not only i am passing through depression so i got encouraged by your depression management tutorial thanks a lot once again bro you are doing a nice job i appreciate
@@lifewalklens8447 The HDR video is a video that is more for playing around and less for delivering HDR content. Non color critical HDR work. That said, which video are you talking about because I’m thinking the Atomos one?
Hi, I have a question. Putting other adjustments nodes after the CST to Rec709 I think it's not ideal. Woudln't be better making the adjustment before the CST as you will adjust and work still within the Arri gamut? I have watched a video of a professional colorist here on TH-cam and he was suggesting to apply any adjustment before any final colour transformation, and to me it made sense. Any adjustment will be benefit from the wider colour space, whilst the conversion to Rec709 happens at the end. Thank you!
There have been two camps of colorist, those who believe in doing everything before the CST and those who only make exposure adjustments before the CST, while doing the rest of the grade downstream. Same thing with LUT's as well actually, because a CST and a LUT is pretty interchangeable. I personally don't think it's ideal to pull keys and build layers in a LOG environment. Others don't mind doing so. I find the tool to be less precise without the added contrast and saturation values that comes from a proper transformation. There really isn't much of an added value color wise, because you're going to be compressing that information into Rec 709 anyways. And you're not getting any Arri Color science because that's a sensor calibration design, and not something in post. Furthermore, when using the standard DaVinci YRGB color science, you don't have access to color space aware tools that could ease this issue. That being said, those are only set to the timeline color space, and not the Log/Gamma format you may be working in. Really, the take away is simple, and this is what I teach my students: as long as you can justify why you've made a choice, and you like the final result, then there isn't much of an issue. In this case, you're main concern would be breaking Rec 709 legality, but that's not going to be an issue if you're grading correctly.
Great detail Sidney. Love the look your getting from the Zcam. How did you come to switching between the various log curves. I would have expected to use a log profile based on the camera of RAW format that the video was captured in.
Cinema DNG in Resolve only has the BMD Film Curve as a starting point. It’s been that way for every camera such as the sigma FP unfortunately. So knowing that the original BMD film curve with Gen 1 science isn’t really adequate, I switched to something more friendly. Hopefully at some point we will have a raw format with Zlog 2 available. :)
Man bro I have a a7siii and the ninja and because of not understanding the workflow of converting pro res into a format worth grading I’ve been using the ninja purely a monitor but I would love to know if you have a class or one on one lectures great work 💯💯
Found it! Set the Encoding Profile to Main 4:4:4 10. Not sure why that isn't the default in a 10 bit workflow. All the profiles listed in the DR 18 manual are for 8 bit. 4:4:4 isn't even there. Who knows? Uploading to Vimeo (any account type) brings back banding.
@@sidneybakergreen Is that render profile different or better than the one I used? Any strategy to minimize banding? It's crazy to get that much detail out of the source and then give it all up at the end. I guess the result is probably still much better than an 8-bit source and workflow.
@@NickMirro I'm pretty sure direct upload is 8bit H.264. With a very low bit rate as well. Which is why I always export h.265 Main 10 at 40,000 kbps for 4K and 20,000 for 1080P
@@sidneybakergreen Thanks again for taking time to help one of your fans! I failed to tell the whole story. I'm uploading to a Vimeo business account so expect better quality than YT. Also just created a ticket for this issue to see if they have anything to offer. Do you know where I can learn about the DR render profiles? Strangely the manual only lists 8-bit profiles 😵💫
es 2024 y ahora puedo grabar CDNG con mi smartphone gracias a motiomcam y despues usar exiftool para modificarlo y en davinci resolve ocupe panasonic log
im planning to get a ninja v for my a7siii, so im going through videos about prores raw for days. i found some sample footage, but when i do it with you first methode i got weird artifacts in the higlights, am i doing something wrong? or is this because of the compression(5:1) i choose in the raw converter?
Hello, great video! I have a question for you. Currently I use Z6II + NINJAV and I shoot N-Log primarily. What should my workflow be in this case? DaVinci's Camera RAW panel is always greyed out, I can't see how to activate it, I guess my video format is not compatible. I can only use the Project Setting's Camera RAW, but honestly I don't know how to approach this conversions at all. ProRes (not Raw) any good for recording and then working in DaVinci or you suggest another format like DNx? If you any idea, please share! Thanks!
I get something similar. In my case, setting Color Mgmt unexpectedly affects access to Color Space in the Color tab. Try DaVinci YRGB, Rec.709 (Scene) and Same as Timeline
Hey Sidney! Love your content and work ethic! Are you still offering the elite color correction classes? I'd love to sign up, but I can't seem to find a link that works. Thanks :)
Would you setup P3 D60 in the Camera Raw settings instead of decoding using “clip”. I feel like changing the camera raw settings to blackmagic design film then changing it back is counter intuitive.
@@sidneybakergreen so timeline space makes no difference ? Anyhow, thus far I used the Blackmachic space and found 2 that work well for me, on this Alexa way, I found the primaries are hyper sensitive...as in micro movements can overcook easily
@@j.merkerproductions that’s not what I said. Some people don’t use wide gamut for various reasons. Some could be because of the use of luts or plug ins like FilmConvert. Not everything works in a wide gamut. The reason I avoid and tech my students to avoid the V1 blackmagic design curve is because of the way it handles dynamic range. Other log curves handle it better. So for this particular workflow, you can have a SDR rec 709 timeline color space. You end up converting that to LOG C and Arri Wide Gamut which is a wide gamut color space anyways. Hope that clarifies
@@j.merkerproductions Yes. What matters to me the most is the Gamma more than the Gamut though. Log C is helping us bring that wide dynamic range of the sensor to life. I have mixed opinions on grading in a wide color space for Rec 709 output. Namely that you're never going to go beyond 709 at export. The output is what confines you. I normally do it for color tools that I have access such as HDR wheels.
Maybe stupid question: In method #1 wouldn't you grade BEFORE the second CST? Most colorists here on youtube teach it this way because they claim your using the full color information when grading and before "crushing" everthing into REC709. Thanks
I spoke on this in another comment below, but I'm glad this topic keeps coming up. So the only grading I do before the CST is managing the exposure of the image (highlights, shadows, midtones.) This is where having all of that information there to begin with is important. My corrections generally retain the entire spectrum of the data into Rec.709 so that we don't have any clipping. After I have my base set, I qualify my skin tones, and create the look outside of the CST. I am not of the group who qualifies skin in a LOG environment. Resolves color tools are color space aware, so corrections such as skin tones need to made outside of the CST in the correct color space environment. Which is why I build the color look outside of the CST I think it comes down to the colorist workflow though. There aren't any set rules as long as you're getting a legal image at the end of the day that fits your story. I've seen workflows with the CST/LUT very last, and some with it in the very beginning. It all comes down to personal preference IMO. That said, some tool again are color space aware.
@@sidneybakergreen Sidney, many thanks for your quick answer and taking the time to explain your workflow. Got it!I 'm pretty new to color grading and watching all the tuts on youtube can get confusing. You adopt one thing from a creator and then another one has a different approach. The lack of knowledge makes me puzzled about the different worflows, pros and cons. Color grading is a science...
Thank you for this video, very valuable. But I need help with a problem. My videos recorded in Prores Raw have a green tint in the shadows. Anyone else with this problem? I use the Raw converter. My camera is a Lumix S5. Thanks!
Sorry, this seems more recent but I have the same Question: I converted a short ProRes RAW clip to CinemaDNG (on my MacBook Pro running Monterey 12) that was shot on my Nikon Z6 that I want to Color Grade in DaVinci (which I have yet to installed on my new ProArt laptop (running under System 11) The output is _000001 thru _000299.dng files - each 8.4MB - so are they meta-files that are imported into Resolve as a “group”??? If not, what’s the next step in processing this - single - video clip?
Thank You very much! That’s what I was thinking - each file contains specific meta-data preserved from ProRes - kinda like Insta360 gives two two files that must be combined in post. Looking forward to exploring DaVinci (cause ProRes RAW is a bitch to work with - even Color Finale gives more options but not a consistent workflow or the ability to create LUTs as far as I’ve been playing with it!)
@@sidneybakergreen I already watched it 😉. thank you. Things were moving fast but I got the important stuff. I’ve been doing things a little differently. Maybe I’ll make a video and share that.
Because it's not incorrect. Neither is leaving the CST last. It really comes down to "philosophy." I've seen workflows where the CST/LUT is last, and some where they're in the very beginning. I am of the boat that resolves color tools, such as the qualifier, are not designed to be used in a LOG environment. Thus, I build my look and correct my skin tones outside of that environment. To each their own as long as you're getting a result you like within legal 709 levels
Hi broOO )) Please tell me, in order to start all this, I need to start converting Prores Raw to (CDNG)? If so, how if I have Windows? ANSWER PLEASE THIS INFO EVERYONE NEED HELP US)))))
so much gold! thanks for this video. I'm a little confused about Gamma Tag, and especially working in Davinci Wide Gamut, or ACES. please do make a video on what is Gamma Tag and what should we look up to. thanks ❤
Hi Sidney! Not long ago I saw your "wonder" video about Raw Convertor (only Apple-friendly^), I bought Mac mini for this purpose and was taken aback to find out that my camera Panasonic GH5S is not supported by Raw Convertor. I dropped a few lines to the developer asking if he is going to add Panasonic in the list of supported camerar. Alas no reply from him... So... You say "this technique works with any ProRes raw enabled camera" is that true???? How can I convert to Cinema DNG if my camera though capable of sending RAW signal to Atomos Ninja V recorder (which records 12 bit ProRes Raw) is not supported by Raw Converter??? Or you know something that I do not know ^)) Thank you! Hope you will address my question. Regards, Mike.
@@sidneybakergreen Nope I found him in Skype and sent a direct message.. but I know that there were a whale of inquiries about Panasonic so... probably he is tired with attention ^).
This is all great until you try to edit (okay I've overstated this a bit). A fast processor and GeForce 4090 won't do much good when a super fast SSD bottlenecks trying to process 10s of 1000s of individual CDNG files (testing and it's more the CPU, which I am upgrading). Editing CDNGs is even slower than directly editing H 264/5
I edit just fine 🤷🏾♂️. It’s the same performance I get with R3D and Tiko Raw. We have to step out of the bottleneck mindset of 2009. Times have changed. also H.264/5 isn’t slow anymore. It’s very much so optimized. Nonetheless, do what’s best for you.
Also, one more follow up. Modern computers can handle any codec that you can throw at it if you are working with flagship hardware. The issue with video editing will continue to be bottlenecks with respect to GPU memory when working in DaVinci Resolve.
@@sidneybakergreen Still with you since I'm loving this level of detail - I've never seen. It is slower than a regular 4K30 log file, which renders at playback speed easily - testing a noise reduction node with each. I agree about the bottleneck issue. It seems more distributed now that I've tested a lot of raw clips. Need to upgrade the CPU.
@@NickMirro right now I’m rocking a RTX 3080 with a 5950X. I know it’s higher end. But I generally edit in 1080P always and generally with color work off. I export in 4K at about 24FPS. This is the same for me with other Raw files. Yes log files go faster in general over raw files… but they also have a lot less data. That being said I don’t feel held back
You master in Gamma 2.2 for web/social smart device delivery and Gamma 2.4 for TV broadcast since TVs run on Gamma 2.4. It's not determined by your grading environment...
@@philippscheithauer When you are color correcting and grading, your gamma needs to be set to your grading environment. You're free to do a Trim pass after that to adjust. But you're environment with affect the way in which you perceive the image. Google is free.
@@sidneybakergreen Wether or not your viewing environment is dark or bright determines the standard gamma. Since TV and cinema is supposed to be viewed in darker environments its standard gamma is 2.4, but if you viewing environment is supposed to be brighter (e.g. PC, Smart Devices) its standard gamma is 2.2 Just do a quick youtube upload test and that'll easily confirm the gamma shift if you upload in 2.4
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This has become my favorite way to work with CDNG files converted from ProRes Raw. Although converting isn't ideal, I still feel like I am working with a completely different camera. Let me know if you have any questions!
Wait so recorded in Prores RAW and converted to Cinema DNG? I thought it was the other way around? What would be the advantage of doing it this way?
@@nicholasolivas317 Resolve doesn’t support ProRes Raw…
Thank you! This is the most detailed, comprehensive video I've seen so far on how to work with CinemaDNG RAW. Really appreciate it!
I'm the guy who complained about SSD bottlenecks. Now I am using your approach exclusively. What a difference! A $1500 Z Cam to Ninja V is producing drastically better footage than a new $4500 Canon camcorder. Thanks Sidney!
Be sure to watch the new video for updated settings :) thanks for circling back man
This video deserves a lot more views
I have been looking for this information for MONTHS! Finally found this video. Thank you SO much. Gonna totally transform my workflow.
Wow i have seen this video pop up in my feed and never check it out tel now this was a really big help
Excitedly waiting for the color-managed/HDR workflows!
This is great, Sydney. You are a CDNG master! More, please, for Sigma FP users.
Very useful video. I got all the answers I was looking for.
Hello! Great job! Thank you so much! I tried to replicate your instruction and when I go to color BMDS18.6, camera settings are grayed out. Try to create a new project and in color, the camera settings are grayed out as well. Any suggestions? Cheers.
th-cam.com/video/RmTPPy_0NNI/w-d-xo.html
@@sidneybakergreen thank you so much!
Oohhhh my god, I do Timelapse in DNG and I think that thanks to your video I have finally managed to get da vinci to provide me in a simple way, get better starting results.. thanks
Another GREAT tutorial Sidney... one of the few TH-cam channels where I learn something new every time I watch! Thanks for taking the time. One question. I'm shooting on a E2-S6 and recording on a Ninja V. I could record RAW... but then there's the conversion process to DNG to be able to work with it in Resolve. I'm working on a PC. So, my question is... wouldn't it be better to record in DNG and how would I set up the camera?
Thanks so much for this. I have a project I'm wanting to shoot using ProRes Raw w/ my GFX100s. Going to get the converter and do some test.
so helpful and perfect timing.
If needed - where do you drop Neat Video in your CDNG pipeline to control noise ?I’d say after the first node. Excellent video btw - subbed !
I always de-noise in the first node.
Hello friend! Is this method suitable for my sigma fp camera?
Yes
Great tutorial!! been scouring the internet for weeks for such information. Currently shooting on iPhone 14 prores raw 422 hq codec and this may be the answer to my struggles on da Vinci.
I just have one question regarding luts. You used the da Vinci film looks , but I would like to use the sony cinema line luts (as they are free and I like the look of s-log footage), what would you do different in camera raw colour space or the corresponding cst after (around 11:50) .
Thanks for the video, great one since I been looking on how to grade, dng files, since I have a Siga FP camera, I have a curiosity, at minute 8:50, you started the color grade and you did it, after the second Color Transform node and not in the middle of the two, and in when you did the skin tone, you didn't go from the alpha of the parallel to the layer node, for the skin adjustment in the layer node, time 9:48. Once again thanks.
I noticed something quite interesting today using ProRes RAW. I CANNOT use Final Cut. I just cant. I've been on resolve for years and I do not plan to move away. I use RAWConverter to convert my ProRes RAW from my FX30 to CDNG to use in Davinci Resolve. But after the conversion, Davinci has no idea if its in legal or HDR anymore. So the clips I record that looked fine on the Ninja, are now super blown out (and would be entirely unusable if it wasnt RAW) but since it is RAW, I turned down the gain, and then the exposure just a tiny bit and not only was it back in legal range for r.709, but there was no noise??? I found that really odd. But I was wondering why my ProRes RAW shots that get converted to CDNG always come in WAYYYYY over exposed. So I went back out, switched out of PQ mode (as everyone says you should monitor on the NinjaV...but I dont deliver for HDR) and went in R709 instead, and the shots came in exactly how they looked when I was shooting. Very interesting - and ofcourse noise was in those shots as there normally would be. Again, I think this is because im converting the files so Davinci has no idea what to do with it to make it legal. But I Thought that was interesting to share that if you record ProRes and use a RAW coverter to work in Davinci, monitor in PQ, with a little knowledge on how to use the RAW tab to bring the clip back to legal range - I feel like I just completely removed the need for noise reduction completely. Here's how I set up my resolve for this (because I found this very interesting to share)
Davinci YRGB Color Managed
Input Color Space: ARRI Logc4 / ARRI Wide Gamut 4 (its RAW, you can say your input is whatever you want lol)
Timeline Color Space: Davinci Wide Gamut 5 / Davinci Intermediate
Timeline Working Luminance - SDR 100 (since everything I do is in r709...for now)
Output Color Space: R709 / Gamma 2.4
Camera RAW Tab:
CinemaDNG
Full res.
Project
Highlight Recovery (on)
Camera Metadata
As Shot
Black Magic Design
Black Magic Design Film
I import the CNDG clips, theyre so insanely blown out, I take the clip into the timeline, go the my color page, lower the gain to a reasonable setting, then lower the exposure tab a bit more until im within legal range. Then BOOM! Now I just go to town on giving the shot a look! My last 2 nodes are usually a CST r709 to Cineon Log Film then a Kodak Film Stock as my last node. All the nodes before it is qualifiers, tiny bit of tone mapping to recover some shadows if I want to, and then O/T (yes, im a sucker for Orange/Teal...but lately been digging more "moody" looks) and at the end? There is literally no noise. Even pixel peeping I see none. If I want a really sharp image? I just increase sharpness by a small amount...if I dont? I add a tad bit of film grain and it looks FANTASTIC. Yes, quite a bit of a workflow but once you know it - its done really fast and you dont have any NR going on slowing down your PC and your CPU or GPU yelling at you. Very interesting find. Maybe others know about this and im still just a noob XD but I thought this was really cool to share. Just been browsing YT to see how others are exposing for ProRes RAW but realized "Wait, but you convert your RAW to CNDG...your workflow will be different!"
Method 1: in a scene referred environment you should grade before the ODT (Rec709 transform) not after the CST node. It limits your possibilities (;
Color tools are color space aware. You should never key log 😌
@@sidneybakergreen Sorry, this is wrong. I know a lot of pro colorists, me included, who also use keys and windows up front in the node tree. This can be tricky to key, but it has the advantage that you don't have to adjust the key when contrast or exposure changes. Check Tyler Roth (Company3) insights on Lowepost or Demystify-Color, you will be teached! And don't be one of those guys spreading wrong information on TH-cam, there are more than enough.
@@elbanzo8110man you killed the guy
have you converted with assimilate?
I don't have the option to change Raw settings. The footage is ProRes 422 HQ
Thanks a lot bro great insights
Great video. One question. Are any adjustments made in Node 2 in the second method?
Really nice video! But I have a problem or maybe I don't understand RAW at the moment. Why are my clips so unbelievable contrasty after I converted these into .dng files (with RawConvertor? Is that normal? It cant be because especially night shots look just dark. No informations in the dark areas at all.
Watch the video posted titled “I was wrong…” it has new settings I use and then come back if you still have an issue
@@sidneybakergreen Thanks for your superfast reply! I watched the video, did the settings change but almost the same. My .dng files look way more contrasty than a clip captured directly in 709. When I look at the preview in the RawConvertor, it looks normal, flat, informations in the shadows. After the convert, just black. Even when I open a dng file in Photoshop. I'm a tottaly newbie in Raw. So thats not normal? Or is it?
@@1PYRO8 in raw converter my images look over exposed, so you may be under exposing? When I shoot log with the same raw settings, my images are over exposed
@@sidneybakergreen Hmmm…When I shoot at daylight, the image looks overexposed in the the converter, like yours. True! Maybe I just underexposed the night shot, could be! But its almost impossible to expose that hard to bring the shadows back because its so dark and contrasty. I‘ll try 🤷🏻♂️. Thanks again.
Amazing info here! wow~ A few questions... 1- I thought P3D60 was a color space used just if we were planning to use the footage for big screen.. is that the case? 2- Where I get confused is between ProRess and ProRess Raw... are these two codecs considered as a different way of log? Thank you in advance! cheers!
P3 D 65... 65 . Yes that’s generally used in cinema. However, TH-cam doesn’t support that.
No. Log is log. Raw is raw. Raw is a set of Red Blue and Green values which can be transformed into a color space. Log does have a color gamut and color space
@@sidneybakergreen Thanks! So 🤔 how about just ProRess (no RAW), what would that be? a form of Log? Thanks again! cheers!
Nice tutorial need more thanks so much bro
More on the way for sure! If you have any questions let me know :)
@@sidneybakergreen thanks a lot bro i appreciate
@@sidneybakergreen ok am still confused about HDR grading watched your tutorial on HDR grading i have much interest on steps to becoming a colourist bro is been a long time you showed up on your chanel hope all is well i actually benefited from your tutorial on how to manage depression i have been passing through a lot thank God i had my notification on i really come to understand is not only i am passing through depression so i got encouraged by your depression management tutorial thanks a lot once again bro you are doing a nice job i appreciate
@@lifewalklens8447 The HDR video is a video that is more for playing around and less for delivering HDR content. Non color critical HDR work. That said, which video are you talking about because I’m thinking the Atomos one?
incompréhensible !
Hi, I have a question.
Putting other adjustments nodes after the CST to Rec709 I think it's not ideal.
Woudln't be better making the adjustment before the CST as you will adjust and work still within the Arri gamut?
I have watched a video of a professional colorist here on TH-cam and he was suggesting to apply any adjustment before any final colour transformation, and to me it made sense.
Any adjustment will be benefit from the wider colour space, whilst the conversion to Rec709 happens at the end.
Thank you!
There have been two camps of colorist, those who believe in doing everything before the CST and those who only make exposure adjustments before the CST, while doing the rest of the grade downstream. Same thing with LUT's as well actually, because a CST and a LUT is pretty interchangeable.
I personally don't think it's ideal to pull keys and build layers in a LOG environment. Others don't mind doing so. I find the tool to be less precise without the added contrast and saturation values that comes from a proper transformation.
There really isn't much of an added value color wise, because you're going to be compressing that information into Rec 709 anyways. And you're not getting any Arri Color science because that's a sensor calibration design, and not something in post.
Furthermore, when using the standard DaVinci YRGB color science, you don't have access to color space aware tools that could ease this issue. That being said, those are only set to the timeline color space, and not the Log/Gamma format you may be working in.
Really, the take away is simple, and this is what I teach my students: as long as you can justify why you've made a choice, and you like the final result, then there isn't much of an issue. In this case, you're main concern would be breaking Rec 709 legality, but that's not going to be an issue if you're grading correctly.
Nice work.
Great detail Sidney. Love the look your getting from the Zcam. How did you come to switching between the various log curves. I would have expected to use a log profile based on the camera of RAW format that the video was captured in.
Cinema DNG in Resolve only has the BMD Film Curve as a starting point. It’s been that way for every camera such as the sigma FP unfortunately. So knowing that the original BMD film curve with Gen 1 science isn’t really adequate, I switched to something more friendly.
Hopefully at some point we will have a raw format with Zlog 2 available. :)
@@sidneybakergreen the ks for the tip
Man bro I have a a7siii and the ninja and because of not understanding the workflow of converting pro res into a format worth grading I’ve been using the ninja purely a monitor but I would love to know if you have a class or one on one lectures great work 💯💯
No class needed, as long as you have a Ninja 5 and record in ProRes Raw watch my other video here
th-cam.com/video/Rr7-tyt8aWg/w-d-xo.html
rec 2020 apple log> rec 709 gamma 2.4
or rec 2020 apple log > Davinci; davinci . . .node . node. . . .Davinci; Davinci > rec 709 gamma 2.4
Does anyone know if this conversion preserves timecode?
Hi Sidney! Any idea why I'm getting banding? The footage grades nicely exept that 😵💫 Do you think it's a render setting or in the workflow?
Found it! Set the Encoding Profile to Main 4:4:4 10. Not sure why that isn't the default in a 10 bit workflow. All the profiles listed in the DR 18 manual are for 8 bit. 4:4:4 isn't even there. Who knows? Uploading to Vimeo (any account type) brings back banding.
Yes because they are all 8 bit when you do a direct upload. I use Main10 for all exports
@@sidneybakergreen Is that render profile different or better than the one I used? Any strategy to minimize banding? It's crazy to get that much detail out of the source and then give it all up at the end. I guess the result is probably still much better than an 8-bit source and workflow.
@@NickMirro I'm pretty sure direct upload is 8bit H.264. With a very low bit rate as well. Which is why I always export h.265 Main 10 at 40,000 kbps for 4K and 20,000 for 1080P
@@sidneybakergreen Thanks again for taking time to help one of your fans! I failed to tell the whole story. I'm uploading to a Vimeo business account so expect better quality than YT. Also just created a ticket for this issue to see if they have anything to offer. Do you know where I can learn about the DR render profiles? Strangely the manual only lists 8-bit profiles 😵💫
es 2024 y ahora puedo grabar CDNG con mi smartphone gracias a motiomcam y despues usar exiftool para modificarlo y en davinci resolve ocupe panasonic log
im planning to get a ninja v for my a7siii, so im going through videos about prores raw for days. i found some sample footage, but when i do it with you first methode i got weird artifacts in the higlights, am i doing something wrong? or is this because of the compression(5:1) i choose in the raw converter?
GREAT 👍
To use the camera raw do we need the paid version ?
No
gracias
Hello, great video! I have a question for you. Currently I use Z6II + NINJAV and I shoot N-Log primarily. What should my workflow be in this case? DaVinci's Camera RAW panel is always greyed out, I can't see how to activate it, I guess my video format is not compatible. I can only use the Project Setting's Camera RAW, but honestly I don't know how to approach this conversions at all. ProRes (not Raw) any good for recording and then working in DaVinci or you suggest another format like DNx? If you any idea, please share! Thanks!
I get something similar. In my case, setting Color Mgmt unexpectedly affects access to Color Space in the Color tab. Try DaVinci YRGB, Rec.709 (Scene) and Same as Timeline
Hey Sidney! Love your content and work ethic! Are you still offering the elite color correction classes? I'd love to sign up, but I can't seem to find a link that works. Thanks :)
Would you setup P3 D60 in the Camera Raw settings instead of decoding using “clip”.
I feel like changing the camera raw settings to blackmagic design film then changing it back is counter intuitive.
If you want your footage to look blown out upon import, then sure. As I stated in the video, that's the reason I change it.
shouldn't the color management > time line set to HDR/ WG or something like that?
This is SDR without color management. There’s a color management tutorial on my Chanel though
@@sidneybakergreen so timeline space makes no difference ? Anyhow, thus far I used the Blackmachic space and found 2 that work well for me, on this Alexa way, I found the primaries are hyper sensitive...as in micro movements can overcook easily
@@j.merkerproductions that’s not what I said. Some people don’t use wide gamut for various reasons. Some could be because of the use of luts or plug ins like FilmConvert. Not everything works in a wide gamut.
The reason I avoid and tech my students to avoid the V1 blackmagic design curve is because of the way it handles dynamic range. Other log curves handle it better.
So for this particular workflow, you can have a SDR rec 709 timeline color space. You end up converting that to LOG C and Arri Wide Gamut which is a wide gamut color space anyways.
Hope that clarifies
@@sidneybakergreen thanx, so before that 709 node it's wide basically. Just odd how each path has its pros and cons.
@@j.merkerproductions Yes. What matters to me the most is the Gamma more than the Gamut though. Log C is helping us bring that wide dynamic range of the sensor to life.
I have mixed opinions on grading in a wide color space for Rec 709 output. Namely that you're never going to go beyond 709 at export. The output is what confines you. I normally do it for color tools that I have access such as HDR wheels.
Maybe stupid question: In method #1 wouldn't you grade BEFORE the second CST? Most colorists here on youtube teach it this way because they claim your using the full color information when grading and before "crushing" everthing into REC709. Thanks
I spoke on this in another comment below, but I'm glad this topic keeps coming up.
So the only grading I do before the CST is managing the exposure of the image (highlights, shadows, midtones.) This is where having all of that information there to begin with is important. My corrections generally retain the entire spectrum of the data into Rec.709 so that we don't have any clipping.
After I have my base set, I qualify my skin tones, and create the look outside of the CST. I am not of the group who qualifies skin in a LOG environment. Resolves color tools are color space aware, so corrections such as skin tones need to made outside of the CST in the correct color space environment. Which is why I build the color look outside of the CST
I think it comes down to the colorist workflow though. There aren't any set rules as long as you're getting a legal image at the end of the day that fits your story. I've seen workflows with the CST/LUT very last, and some with it in the very beginning. It all comes down to personal preference IMO. That said, some tool again are color space aware.
@@sidneybakergreen Sidney, many thanks for your quick answer and taking the time to explain your workflow. Got it!I 'm pretty new to color grading and watching all the tuts on youtube can get confusing. You adopt one thing from a creator and then another one has a different approach. The lack of knowledge makes me puzzled about the different worflows, pros and cons. Color grading is a science...
Thank you for this video, very valuable. But I need help with a problem. My videos recorded in Prores Raw have a green tint in the shadows. Anyone else with this problem? I use the Raw converter. My camera is a Lumix S5. Thanks!
hmm any reason why my color space and gamma is greyed out in the camera raw tab? I have already put the same camera raw settings
Decode as clip.
I did and still greyed out
@@therealkevinleee Did you follow the color management settings to the T...
@@therealkevinleee That's the only other reason it would be greyed out is not having the input color space set to same as timeline
What settings u put on Color Management tab?
I didn’t change them. This is non color managed. We used cst
Sorry, this seems more recent but I have the same Question: I converted a short ProRes RAW clip to CinemaDNG (on my MacBook Pro running Monterey 12) that was shot on my Nikon Z6 that I want to Color Grade in DaVinci (which I have yet to installed on my new ProArt laptop (running under System 11)
The output is _000001 thru _000299.dng files - each 8.4MB - so are they meta-files that are imported into Resolve as a “group”??? If not, what’s the next step in processing this - single - video clip?
They are imported as a group
Thank You very much! That’s what I was thinking - each file contains specific meta-data preserved from ProRes - kinda like Insta360 gives two two files that must be combined in post.
Looking forward to exploring DaVinci (cause ProRes RAW is a bitch to work with - even Color Finale gives more options but not a consistent workflow or the ability to create LUTs as far as I’ve been playing with it!)
CORRECTION: those were 266 - FRAMES - not metadata as I had assumed 😁
Great video, any chance you'll share your Davinci managed workflow with CDNG for Rec.709 and HDR?
I posted it.
@@sidneybakergreen I already watched it 😉. thank you. Things were moving fast but I got the important stuff.
I’ve been doing things a little differently. Maybe I’ll make a video and share that.
Bruh, why are you grading after the 709 CST?
Because it's not incorrect. Neither is leaving the CST last. It really comes down to "philosophy." I've seen workflows where the CST/LUT is last, and some where they're in the very beginning.
I am of the boat that resolves color tools, such as the qualifier, are not designed to be used in a LOG environment. Thus, I build my look and correct my skin tones outside of that environment.
To each their own as long as you're getting a result you like within legal 709 levels
Hi broOO ))
Please tell me, in order to start all this, I need to start converting Prores Raw to (CDNG)? If so, how if I have Windows? ANSWER PLEASE THIS INFO EVERYONE NEED HELP US)))))
Buy a macbook air and do the conversions. That's what I said I did.
Any Prores Raw converter to CDNG for Windows yet?
take a look microsoft store!
Is it possible to convert z raw with the same process?
Not with the Raw convertor, no.
@@sidneybakergreen thank you
Я думаю перевести в hdr было бы лучше)
so much gold! thanks for this video. I'm a little confused about Gamma Tag, and especially working in Davinci Wide Gamut, or ACES.
please do make a video on what is Gamma Tag and what should we look up to.
thanks ❤
Hi Sidney! Not long ago I saw your "wonder" video about Raw Convertor (only Apple-friendly^), I bought Mac mini for this purpose and was taken aback to find out that my camera Panasonic GH5S is not supported by Raw Convertor. I dropped a few lines to the developer asking if he is going to add Panasonic in the list of supported camerar. Alas no reply from him... So... You say "this technique works with any ProRes raw enabled camera" is that true???? How can I convert to Cinema DNG if my camera though capable of sending RAW signal to Atomos Ninja V recorder (which records 12 bit ProRes Raw) is not supported by Raw Converter??? Or you know something that I do not know ^)) Thank you! Hope you will address my question. Regards, Mike.
Did you find him on Facebook?
@@sidneybakergreen Nope I found him in Skype and sent a direct message.. but I know that there were a whale of inquiries about Panasonic so... probably he is tired with attention ^).
the "wonder" video is actually a wonderful video ^)
@@xtAqHNpFg find his profile on Facebook. That’s how I always contact him
This is all great until you try to edit (okay I've overstated this a bit). A fast processor and GeForce 4090 won't do much good when a super fast SSD bottlenecks trying to process 10s of 1000s of individual CDNG files (testing and it's more the CPU, which I am upgrading). Editing CDNGs is even slower than directly editing H 264/5
I edit just fine 🤷🏾♂️. It’s the same performance I get with R3D and Tiko Raw. We have to step out of the bottleneck mindset of 2009. Times have changed.
also H.264/5 isn’t slow anymore. It’s very much so optimized. Nonetheless, do what’s best for you.
Also, one more follow up. Modern computers can handle any codec that you can throw at it if you are working with flagship hardware. The issue with video editing will continue to be bottlenecks with respect to GPU memory when working in DaVinci Resolve.
@@sidneybakergreen Still with you since I'm loving this level of detail - I've never seen. It is slower than a regular 4K30 log file, which renders at playback speed easily - testing a noise reduction node with each. I agree about the bottleneck issue. It seems more distributed now that I've tested a lot of raw clips. Need to upgrade the CPU.
@@NickMirro right now I’m rocking a RTX 3080 with a 5950X. I know it’s higher end. But I generally edit in 1080P always and generally with color work off. I export in 4K at about 24FPS. This is the same for me with other Raw files. Yes log files go faster in general over raw files… but they also have a lot less data. That being said I don’t feel held back
that option is greyed out
@@Reaper.Visual what option.
You master in Gamma 2.2 for web/social smart device delivery and Gamma 2.4 for TV broadcast since TVs run on Gamma 2.4. It's not determined by your grading environment...
Gamma is determined by your grading environment.
@@sidneybakergreen Definitely not. Try exporting a clip in Gamma 2.2 and 2.4, upload both to TH-cam and see which one looks like the original file.
@@philippscheithauer When you are color correcting and grading, your gamma needs to be set to your grading environment. You're free to do a Trim pass after that to adjust. But you're environment with affect the way in which you perceive the image. Google is free.
@@sidneybakergreen Wether or not your viewing environment is dark or bright determines the standard gamma. Since TV and cinema is supposed to be viewed in darker environments its standard gamma is 2.4, but if you viewing environment is supposed to be brighter (e.g. PC, Smart Devices) its standard gamma is 2.2
Just do a quick youtube upload test and that'll easily confirm the gamma shift if you upload in 2.4
@@sidneybakergreen Hence the mastering gamma is linked to the viewing of the final product, not the grading environment.
The jump cuts would be less jarring if the background was unchanging.
Don’t be sensitive
@@sidneybakergreen Just providing feedback to help you improve your skills.
@@JJ_Khailha don’t be sensitive.
@@sidneybakergreen Self proclaiming accolades trigger my spidey sense which is highly sensitive.
@@JJ_Khailha I’d recommend seeking help for that.
why are you grading on top of rec 709 color space transformation... that makes no sense
Hello 👋👋 bro how are you?
I am good man! How are you bro?
@@sidneybakergreen good to thinks, is a long time we don't hear anything about you