EOS M Raw CinemaDNG footage transformed to any Log profile in Davinci Resolve 

I'm sorry for my late answer, only now I notice that RU-vid was helding the comments of my first videos.Glad it was helpful! Thanks!!

I'm glad you liked it. And I'm sorry for my late answer, only now I notice that RU-vid was helding the comments of my first videos

Soon I'll post a new video on how to work with CST nodes using RAW cDNG coming from MLV files

yes it's possible!! Thanks for watching

Thank you for watching my videos!!

@@russo-filmmaking No problem! One question, is there a way to automate everything up until the last lut? I.E do it once and save it as some kind of preset for all my ML DNG's?

@@nadtz yes, you can create your your base nodes tree as a template and save it in your gallery tab as power grade. So each time you are working with EOS M clips you only have to apply your powergrade to the clip and make your adjustments, saving a lot of time

@@russo-filmmaking Thanks. I'll have to figure that out exactly but that's what google is for!

@@nadtz on YT look for how to create powergrades in Davinci, it's very easy

Thanks for watching!!

thank you too!! I'm sorry for my late answer, only now I notice that RU-vid was helding the comments of my first videos. I'll do a video about Davinci color space and gamma when using the EOS M . And some other videos about color grading in DaVinci Resolve

There are Kodak and Fujifilm luts already included in Davinci Resolve, they expect a cineon film gamma to be applied. Regarding the Phantom luts I bought them on the Joel Famularo webpage. I bought both the Sony and the Blackmagic versions.

Grazie a te per vedere il video!!

Yes, It was my first tutorial and it's not clear. I learn a lot after this first video. I set rec709 as input in my second node because I'm going to use a LUT (created for LOG profiles) in the middle of the two nodes. The LUT I used in the tutorial were a Arri LOG Lut and a Phantom Slog Lut which automatically normalize LOG to rec 709. So after the Lut you have to put a node with Rec709 input. This is why: from DWG we go to Arri Log or Slog, then applying the LUT we go from Arri Log or Slog to rec 709. Then we have to come back to DWG because our project is set to transforming DWG to Rec709 and if we don't return with our last node to DWG, then Davinci will apply two time the conversion to rec709. So because the LUT output is rec709, the input in my second CST must to be rec 709. If you try to put as input color space and gamma Arri in the second node, nothing happen to the image. Try it. As I said it was my first tutorial and the method works very well, but I have a better and more clear workflow, I can say the definitive workflow for CinemaDNG files coming from MLV files. I hope to post this method between Wednesday or Thursday and it will be absolutely more clear and well explained.

@@russo-filmmaking Thank's for your clear long answer. My mistake. I just saw that part of Arri. In that part you did not mention the lut. That's why I was surprised. Later on with Slog you did. I was to fast. Sorry about that. Waiting for your new post. Thank's again. I appreciate it a lot. Greetings Richard

hey, thanks for follow all my videos!! this was my first video about 7 months ago on color grading with Canon EOS M. Since then I have learned a lot about Canon EOSM and the CDNG files coming from it and the way to treat them in Davinci. The method I explained in this video works well but there are other options. When you use Davinci Color Managed you can't set raw camera input color space and gamma, for this reason I don't mention it. As I told you previously I'm preparing a new video on this theme which will be more detailed and more clear on how to work with CDNG files using different techniques that lead to the same result. I hope to post the video at the beginning of the next week.

@@russo-filmmaking Thank's for your fast reply. You are right about color managed setting and not being able to change that setting. But I miss this in many tutorials. I really enjoy the way how you explain things. Straight to the point and very clear. I am curious about your new video and wait for this. I only work with CDNG files so for me any information is welcome. I also learned a lot the last 3 years about CDNG since I work with Davinci, I like to share this too. But to make tutorials it's not for me. Thank's so much for replying my questions. And keep on going your great tutorials. I am sure a lot of people enjoy this. Cheers Richard

@@richardrem thanks Richard🙌🙌

Absolutely!!

In this video I worked using davinci color managed and the final CST nodes are technical and they were used to apply a LUT like Phantom. So all the Color grade was done in a Davinci Wide Color Space. My last CST is set to Davinci because I’m in Davinci Color Managed, which automatically convert your output in rec 709 because I set it so in my project. So after my lut (output rec709) I have to come back to davinci as in my project, otherwise I’m gonna have a doble rec 709 conversion. You can get the some results using Davinci YRGB, setting your timeline color space to Davinci Wide Gamma and your output color space to rec 709 (2.2, 2.4, -A or whatever depending on your deliveries). In this case you need to set a CST in and a CST out and make your grade between these two nodes. I don’t use anymore Davinci Color Manged in my workflow, and I prefer to work with CST nodes. Check my video on my workflow with cDNG files from ML ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-XkRvU2FpAI0.html

@@russo-filmmaking thanks Sergio, that clears up my questions. I've been watching videos by a great professional colourist @darrenmostyn and the video you linked to in your reply follows more the method I've been learning from him. The only difference is I've seen him use the Kodak film emulation lut, but from what I understand: this lut is expecting both a rec 709 input and the cineon gamma . So in this case he adds another CST after your last CST out to rec 709. he makes a compound node of CST cineon gamma node and the Kodak LUT node. This means he can adjust the opacity of the compound node, which means you can effect the strength of the Kodak film look.

Hi, this is only one of the possible options for moving our Cdng footage from a color space to another color space if we need it. Some people in theirs works utilize luts which are developed for specific color spaces and gamma: for example some luts developed for log color spaces like the Kodak 2383 used in a cineon color space or some Phantom Luts which are developed for logs color spaces like sony S-log or Blackmagic gen 4/5 among others. In this video I explain how you can do it. People that use the canon EOS sometime export from MLV their footages as log only because they want to use some arri lut or phantom lut in Davinci, renouncing in my opinion the possibility of exploiting the information contained in the cDNG raw files because they don't know how to move their images for one to another color space.

@@russo-filmmaking Excellent explanation. Now I understand. Thank you

I was using premiere pro for my projects 10 years ago, then I moved to Final Cut and now definitely I love to work with Davinci Resolve. So honestly I don't know how to use it in Premiere Pro because the software has changed a lot during the last 10 years. Sorry

Sorry I don't. I always change my way to color grade depending on the footage

Sorry I made this video more than a year ago and I didn't backup it. I don't have anymore the node tree structure I used for the tutorial, but you can try to build it following the steps on the video. After this video I made other on how to handle correcltly cDNG files through a color managing in the nodes instead of “Davinci Color Managed“ ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-XkRvU2FpAI0.html Check it in my channel, it's the better way to go

@@russo-filmmaking Thank you so much!

La transformación es necesaria si vas a usar algún LUT, por ejemplo para emular alguna impresión de película. Estos LUT (los buenos) están desarollados exclusivamente por ciertas marcas de cámaras, así que la transformacion es necesaria. Te aseguro che no se va a ver igual en rec709. Cada Film Print Emulation Lut da a la imagen ciertas características che no obtienes con una transformación sencilla a rec709

@@russo-filmmaking Una disculpa, tal vez no me di a entender. Yo me refería a esto: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-XkRvU2FpAI0.html

@@filmiclove correcto 👍🏻

II don't use MLV for color, I export cDNG from MLV and then I make my grade in Davinci resolve

This is an old video. When I started using Davinci Resolve I used to work using Davinci Color Managed. it’s an option. Then I changed my workflow and now I prefer to work with color space transform nodes. Here is a video with my new workflow which I specifically use with cDNG files from Magic Lantern ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-XkRvU2FpAI0.html