DaVinci Resolve Secrets: Grading Unsupported Cameras W/ RCM Made Easy

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When a new camera hits the market, sometimes support for resolve is slow to follow. It may come a week after the release, or it could be years if the manufacture is new. In this video, I break down how to color grade footage using resolve color management, even if the footage isn't supported. This is the DaVinci Wide Gamut Processing Mode, Input Color spaces available to use, a lut, and a few color space transforms to get the right starting point when using the DaVinci Wide Gamut. The reason this works even though we're using rec 709, which is a tiny color space, is because we are relying on resolves Display Reference Transform or DRT for short. Simply put, we allow resolve to the transformations preventing highlight or shadow clipping. More information can be found on page 218 of the DR manual.
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Опубликовано:

20 июл 2024

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Комментарии : 26

@sidneybakergreen Год назад

I wanted to provide a little more context that I left out of the video for time sake. The reason this works even though we're using a Rec 709 conversion lut, is because we are relying on resolves Display Reference Transform or DRT for short. DRT is a form of Tone Mapping. We have DaVinci, Clip, Simple, and Luminance Mapping. In this tutorial we are using DaVinci. On page 218 of the Resolve Manual, it states: Input DRT (Display Rendering Transform) drop-down menu provides a variety of different options to enable DaVinci Resolve to automatically tone map the image data of SDR and HDR clips to better match one another when they’re fit into the currently selected Timeline Color Space." Simply put, we allow resolve to the transformations preventing highlight or shadow clipping and take us into the wider HDR enviorment. So assuming you didn't clip your LOG signal, you'll suffer from no detail loss. Furthermore, the reason we don't need a CST at the end of the timeline is because Resolve Color Management is taking care of that for us. Imagine a CST at the end that you just can't see. More information can be found on page 218 of the DR manual.

@Taylorharrisonfilm Год назад

Lol as soon as I saw this video, I thought wow finally someone who actually read the manual.

@dianegreen1333 Год назад

Another great tutorial, Sidney! I really appreciate you sharing your knowledge and expertise!!! You are making money moves and you are a great human being! 💕❤ - Momma

@smartideas-pedro1690 5 месяцев назад

This is a great solution. I even asked chat gpt for a solution like this, i should have looked the manual lol. Huge thanks for sharing!

@Taylorharrisonfilm Год назад

That was, absolutely fkn impressive, well done

@FlingerFilms Год назад

First! Thanks for posting more grading tutorials! I'm a Premiere editor and I'm adjusting to to the node concept. Your tutorials are really helpful with the additional explanation. Keep it coming!

@sidneybakergreen Год назад

Glad I could help man! Thank you for the continued support!

@DEANGUEST Год назад

This is really helpful considering I shoot Fuji! Thanks Sidney! Hope you are well.

@sidneybakergreen Год назад

Glad I could help man! I'm doing well! I've been seeing your TikToks lately. Glad you're doing awesome stuff!

@DEANGUEST Год назад

@@sidneybakergreen thanks man appreciate you

@cubdukat Год назад

Can this technique be used for film scans? I have several ProRes files of Super-8 and 16mm that don’t have any metadata that YRGB Managed can use.

@sidneybakergreen Год назад

Yes, but you'd need to know what color space the footage was scanned into. You wouldn't need a lut in this case if you're getting your scans back in RGB. As a matter of fact, you might not even need to use CST at all, you'd simply need to select RGB in the Input Color space. The more that I think about it the more variables there may be. For example if your scans were scanned into a Cineon Linear curve that'd change the entire approach. Can you provide more information?

@cubdukat Год назад

@@sidneybakergreenI’ll ask about the colorspace, but it wasn’t specified for any of the scans.

@chrisreist Год назад

That sound very helpful! Thanks! How do you set the CST when using BRAW with the FUJIFILM XH2s?

@sidneybakergreen Год назад

BRAW would be supported by resolve and there for you wouldn't need a CST. Just set up color management and grade. :)

@chrisreist Год назад

@@sidneybakergreen so no differences, when it comes from an other camera? Like FUJIFILM or ZCAM?

@sidneybakergreen Год назад

@@chrisreist Yep. You would just set up, resolves color management and drag your clips on the timeline and start grading from node 1.

@RobJorg 11 месяцев назад

which widescreen monitor are you using,?got my eye on the 40 inch 5k2k LG monitor but i am unsure.

@qanunji Год назад

Hi, you state that the Zcam plugin expects Rec709, but in its dialog it expects Zlog, shouldnt you change that?

@sidneybakergreen Год назад

No. The Zcam plugin expect a Rec 709 timeline color space. The footage itself is in Zlog 2. This goes for any camera. The Arri Log C to Rec 709 Lut is expecting a timeline color space of Rec 709. The LUT handles the LOG C to 709 conversion. Same with Slog. Same with Flog. If you change the Zlog option to rec 709, you'll stay in log. But the proof in the method is the fact that you get the same image at the end while using color management.

@vividmotion66 Год назад

Thanks! I am on Mac. I always had this exposure shift after export. So I have to pic rec.709-A. What would be correct to set it up in your workflow? Shall I always pick rec709-A in my CSTs? And also under output color space under project settings?

@sidneybakergreen Год назад

it would go under the color management in project settings. The CSTs would stay the same.

@vividmotion66 Год назад

@@sidneybakergreen only set rec709-A there? Should it all be the same?

@vividmotion66 Год назад

@@sidneybakergreen i also notice that my that my HD Range zones graph stays above 100 nits the only on the zlog2 note, so second one. On the third note with the cst from rec709 to Davinci Wide gamma/intermediates it jumps back below 100 nits. That correct? Am I not looking dynamic range to work with?

@sidneybakergreen Год назад

@@vividmotion66 no. Timeline color space and output color space are not the same. LUTS don't expect rec 709a as an input. Rec 709a doesn't exist outside of apple.

@sidneybakergreen Год назад

@@vividmotion66 Make sure you followed every step to the T. From your color management tab, and your input color space on the thumbnails and CST. You should also be look for the output on Node 4, not the CST node.