WOW! Am I glad I landed on this video; This takes care of everything I have been wanting to do with my ProRes Raw in Davinci Resolve. Thank you, Thank you, Thank you.
Finally someone with good CST and node logic when dealing with CDNG! This is my workflow too, however I have seen people use P3D60 colour space and linear gamma as the raw settings/input colour spaces… which always give me very clipped/horrible results. So I stick with the Blackmagic Design inputs.
P3 D60 and Linear because the camera sees light linearly. You want to do the log conversion waay down the chain. Log is efficient st acquiring data, mucv more so than linear, but is horrible when it comes preserving tonal range accurately. Blackmagic film log is some of the most inaccurate ones to me. If you go with P3 D60/Linear, you're not just limited to what the raw tab gives you, you can then do a CST to literally any gamma and colorspace you want accurately, because you're doing the conversion down the chain. So do the log conversion in the first node, not in the raw tab. I'm able to use my GHAlex Lut that was made exclusively for the GH4/5 VLOG-L and it behaves exatcly the same way as it did with my GH4 footage.
Thanks for the tutorial. Following along with this process because I recently discovered a noticeable difference between going from ProRes RAW to ProRes 4444XQ, vs converting to CDNG. It was especially apparent in the highlights, and I was surprised how much it "flattened" the dynamic range in those areas. Highlights on someones skin, etc, were crushed in the XQ format, but are still very present in the CDNG. I'm converting from a Sony A7s III of Ninja V. This was the first time I've converted into the Blackmagic Design inputs, many other tuts leave it in the Rec 709 space.
Hey this is amazing! But what do you do if you’ve already edited an entire sequence timeline in Premier of ProRes Raw footage and need to bring it into Da Vinci with an XML or something? (aka my problem, haha) thanks!
Hi Viktor - great video - thank you! Quick question - do you notice that when you choose "Decode using - clip" & "White balance - as shot", the white balance value shown is different to what you had the camera set to? For example, I set my camera white balance to 5600 - but it shows as 5303 in Resolve. Do you experience something similar?
Yes, it’s the auto white balance in the metadata. I just set it to the value I want in post. This workflow is not as flush as braw, but it gets the work done with some tweaks.
Hi Viktor. Great video. But it brings questions. If you have mixed camera how you make the colors similar since in your workflow you are not telling davinci if its slog3, vlog, clog etc. Is in this conversion important to get matching between the cameras?
If you have mixed cameras with different color science it shouldn’t be that hard to match them in post if shooting raw. But you could convert the log profile to another log profile you want to match before the dwg sandwich. One software I use is cinematch. Works really good 👍🏻
HI! Thank you so much, it helped me a lot because I'm fairly new to grading. I have one question. I shoot Nikon Z7ii with Atomos NinjaV to ProRes Raw, shouldn't I put input Gamma in the first CST to Nikon N-Log instead of Blackmagic Design Film?
Can i ask why would you convert pro-ress to cinema DNG? it's still going to be the quality of the pro-ress and not DNG there wont be any information gained by the conversion process hence why i am confused you didn't shoot DNG initially. If you want to take advantage of of having all the information of the DNG purest RAW format out there then i suggest you shoot initially in DNG. Pro Ress is not a RAW format it certainly can be a high end if you shot in Pro-ress 4444XQ but it is not classed as a RAW format.
First i just want to clarify that it’s not ProRes but ProRes RAW. Why ProRes RAW to CDNG: Because ProRes RAW is not natively supported in Davinci Resolve. So to take advantage of the metadata and 12bit from ProRes RAW we have to convert it to CDNG first for native support i n Davinci. Why not shoot CDNG in the first place: My system can’t shoot CDNG, but it can shoot ProRes RAW.
@@EzraaaDave No, a7iv can only output 10bit. But the z cam, which I used in this example can output raw over HDMI. Depending on the recorder it get recorded as prores raw or black magic raw.
Such a helpful video, thank you so much. One question, do you do all of your node adjustments between the two CST's? Or was it just for this specific grade?
HELLO, it's me again... a question, do you know DEHANCER PRO? In this chain in which node could we introduce this plugin and what would be its input configurations?
Hi! Yes, but I don't use I personally. Just put it in between the CST's. Make sure your timeline is in DWG or else specify the input color space in the DEHANCER plugin. I would introduce this plugin after I've balanced the image in the node chain. It depends on your workflow but you could probably skip the CST out and just tell DEHANCER to output rec709 if you use it as the last plugin?
Thanks! I’m using the z cam s6 and Sony a7iv. In most cases I’m not doing anything other than csts. It’s set to standard rec709(scene) in the color management tab in project settings.
Not sure if this answers your question. But we want to convert the prores raw to cdng for native support in davinci resolve. If you work in Final Cut you don’t have to do the conversion because it’s supported natively.
@@viktorbrunoe Hi thanks for the reply, Yeah I mean multiple computers, a days ago I just bought RAW Covertor with my friends, we bought it together cause we think, it can use by 2 computers, but we stuck like we dont know how to use it with 2 computers. Does it use for 2 computers like Davinci, something like that. Thank you.
@@bunzovisuals I’m not sure but if you buy it on the AppStore with your Apple ID it’s tied to that. You can maybe log in with your Apple ID on another computer and install it. But I’m not sure if you can use it simultaneously. Try it out!
How fast does it convert from ProRes Raw to cDNG? On what computer was it converted on? How does the conversion time compare to ProRes Raw to ProRes 4444?
Hi, the conversion takes about the same time as transferring the files to my computer. Maybe a little bit slower but it's close. That's why I convert straight from the card. I have never converted to prores 4444 so I can't say. This example is done on a 2021 MacBook Pro M1 Max.
My computer is quite old, and I tried converting ProRes RAW to CDNG, but it's a time-consuming process, and the file size increases. So now, I'm using Final Cut for basic corrections like ISO, white balance, and basic exposure correction. After that, I export it in ProRes LT or 422 and then use it in DaVinci Resolve. Is this approach correct?
WOW! Am I glad I landed on this video; This takes care of everything I have been wanting to do with my ProRes Raw in Davinci Resolve. Thank you, Thank you, Thank you.
Glad to help 🤗
Finally someone with good CST and node logic when dealing with CDNG! This is my workflow too, however I have seen people use P3D60 colour space and linear gamma as the raw settings/input colour spaces… which always give me very clipped/horrible results. So I stick with the Blackmagic Design inputs.
Yes, P3D60 is also a way to go. I guess you get different behavior in the raw tab depending on what you choose?
P3 D60 and Linear because the camera sees light linearly. You want to do the log conversion waay down the chain. Log is efficient st acquiring data, mucv more so than linear, but is horrible when it comes preserving tonal range accurately. Blackmagic film log is some of the most inaccurate ones to me.
If you go with P3 D60/Linear, you're not just limited to what the raw tab gives you, you can then do a CST to literally any gamma and colorspace you want accurately, because you're doing the conversion down the chain.
So do the log conversion in the first node, not in the raw tab.
I'm able to use my GHAlex Lut that was made exclusively for the GH4/5 VLOG-L and it behaves exatcly the same way as it did with my GH4 footage.
Thanks for the tutorial. Following along with this process because I recently discovered a noticeable difference between going from ProRes RAW to ProRes 4444XQ, vs converting to CDNG. It was especially apparent in the highlights, and I was surprised how much it "flattened" the dynamic range in those areas. Highlights on someones skin, etc, were crushed in the XQ format, but are still very present in the CDNG. I'm converting from a Sony A7s III of Ninja V. This was the first time I've converted into the Blackmagic Design inputs, many other tuts leave it in the Rec 709 space.
Glad you find it useful :)
Hey this is amazing! But what do you do if you’ve already edited an entire sequence timeline in Premier of ProRes Raw footage and need to bring it into Da Vinci with an XML or something? (aka my problem, haha) thanks!
You could convert the timeline footage to ProRes 4444 and the export the timeline. This way you still have a 12bit file to work with in davinci.
Thanks for sharing your solution to this. I have this issue now and I appreciate all of you people who shared how to solve it. Cheers 🙏
Happy to help 👍🏻
Hi Viktor - great video - thank you! Quick question - do you notice that when you choose "Decode using - clip" & "White balance - as shot", the white balance value shown is different to what you had the camera set to? For example, I set my camera white balance to 5600 - but it shows as 5303 in Resolve. Do you experience something similar?
Yes, it’s the auto white balance in the metadata. I just set it to the value I want in post. This workflow is not as flush as braw, but it gets the work done with some tweaks.
@@viktorbrunoe Ah! That makes sense. Thanks for clarifying. :)
Thank you sooo much!!! Bless you man!
Happy to help!
とても参考になりました。ありがとうございます。
Hi Viktor. Great video. But it brings questions. If you have mixed camera how you make the colors similar since in your workflow you are not telling davinci if its slog3, vlog, clog etc. Is in this conversion important to get matching between the cameras?
If you have mixed cameras with different color science it shouldn’t be that hard to match them in post if shooting raw. But you could convert the log profile to another log profile you want to match before the dwg sandwich. One software I use is cinematch. Works really good 👍🏻
HI! Thank you so much, it helped me a lot because I'm fairly new to grading. I have one question. I shoot Nikon Z7ii with Atomos NinjaV to ProRes Raw, shouldn't I put input Gamma in the first CST to Nikon N-Log instead of Blackmagic Design Film?
@@matejstavny9747 Happy to help! If you convert ProRes raw to cdng it has nothing to do with N-Log anymore.
@@viktorbrunoe Thank you so much!
Very good video bro. Thanks for the Kodak DWG LUT link. Saves a lot of time and fiddling around.
Thanks! Glad you liked it 😀
Excellent tutorial, Sir!
Thanks 😃
Can i ask why would you convert pro-ress to cinema DNG? it's still going to be the quality of the pro-ress and not DNG there wont be any information gained by the conversion process hence why i am confused you didn't shoot DNG initially. If you want to take advantage of of having all the information of the DNG purest RAW format out there then i suggest you shoot initially in DNG. Pro Ress is not a RAW format it certainly can be a high end if you shot in Pro-ress 4444XQ but it is not classed as a RAW format.
First i just want to clarify that it’s not ProRes but ProRes RAW.
Why ProRes RAW to CDNG: Because ProRes RAW is not natively supported in Davinci Resolve. So to take advantage of the metadata and 12bit from ProRes RAW we have to convert it to CDNG first for native support i n Davinci.
Why not shoot CDNG in the first place: My system can’t shoot CDNG, but it can shoot ProRes RAW.
I have the same set up as you. so you're basically saying my A7IV 10bit recorded via ninja V if converted to DNG will be a 12bit footage?
@@EzraaaDave No, a7iv can only output 10bit. But the z cam, which I used in this example can output raw over HDMI. Depending on the recorder it get recorded as prores raw or black magic raw.
Such a helpful video, thank you so much. One question, do you do all of your node adjustments between the two CST's? Or was it just for this specific grade?
Glad to help! Yes, i keep the grading process in between the cst’s when doing this workflow.
good workflow,get it
😃🙏🏻
ty for this
@@mixedbyted Happy to help!
Wow awesome tutorial
@@robingossman3385 Thanks mate!
HELLO, it's me again... a question, do you know DEHANCER PRO? In this chain in which node could we introduce this plugin and what would be its input configurations?
Hi! Yes, but I don't use I personally. Just put it in between the CST's. Make sure your timeline is in DWG or else specify the input color space in the DEHANCER plugin. I would introduce this plugin after I've balanced the image in the node chain. It depends on your workflow but you could probably skip the CST out and just tell DEHANCER to output rec709 if you use it as the last plugin?
@@viktorbrunoe muchas gracias!!!!
3:22 😹 Oscar-level for sure
Oh yeah 😎
Hola, es el mismo procedimiento si se graba con una Sony a7sIII y Ninja V ?
¡Hola! Sí, el principio es el mismo.
@@viktorbrunoe gracias!!!
What camera are you using?
What is your color management or do you not do anything special since you have CSTs? Also good video.
Thanks!
I’m using the z cam s6 and Sony a7iv. In most cases I’m not doing anything other than csts. It’s set to standard rec709(scene) in the color management tab in project settings.
Do you have to pay a separate license for every camera in the Raw convertor?? Or is it just a one time buy??
I think there’s a lot of cameras included.
Thanks of the informations, but what is the difference of the quality provided by raw converter?
Not sure if this answers your question. But we want to convert the prores raw to cdng for native support in davinci resolve. If you work in Final Cut you don’t have to do the conversion because it’s supported natively.
Great tutorial, thanks for the tips!!!
Happy to help Mike :D
Great work brother!
Thanks mate!
hello I want to ask, is the RAW app for 2 accounts? If so, how do I use it? please help
Hi! Not sure I understand what you mean by two accounts. Multiple users/computers?
@@viktorbrunoe Hi thanks for the reply, Yeah I mean multiple computers, a days ago I just bought RAW Covertor with my friends, we bought it together cause we think, it can use by 2 computers, but we stuck like we dont know how to use it with 2 computers. Does it use for 2 computers like Davinci, something like that. Thank you.
@@bunzovisuals I’m not sure but if you buy it on the AppStore with your Apple ID it’s tied to that. You can maybe log in with your Apple ID on another computer and install it. But I’m not sure if you can use it simultaneously. Try it out!
Super helpful, thanks !
Glad to help!
Great tip brother, I' m new to color as well and searching for tips and trips. new friend here
Thanks! Glad I can help 😀
Life saver
How fast does it convert from ProRes Raw to cDNG? On what computer was it converted on? How does the conversion time compare to ProRes Raw to ProRes 4444?
Hi, the conversion takes about the same time as transferring the files to my computer. Maybe a little bit slower but it's close. That's why I convert straight from the card. I have never converted to prores 4444 so I can't say. This example is done on a 2021 MacBook Pro M1 Max.
Thank you❤️🥹🥹
😀Is FX3 operating the same way
If you're referring to recording Prores Raw. The FX3 does.
My computer is quite old, and I tried converting ProRes RAW to CDNG, but it's a time-consuming process, and the file size increases. So now, I'm using Final Cut for basic corrections like ISO, white balance, and basic exposure correction. After that, I export it in ProRes LT or 422 and then use it in DaVinci Resolve. Is this approach correct?
Thats also a way to do it 👍🏻
But you will be working on a 10bit file instead of a 12bit. And it’s nice to have everything in davinci.
to think they spend lots of money to get the look of that shot. Well done
Thanks 😀
👍
wassup with the attitude 😂😂
I’m not sure I follow 🤔
The V is a Roman numeral 5 and therefore what you should be saying is the Ninja 5.
That is correct. Just heard so many saying Ninja "V" it kind of stuck I guess.
Super helpful, thanks !
@@謝易桓-e6k Glad you like it :)