How To Color Grade Nikon Z9 N-Raw In DaVinci Resolve

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This was originally supposed be a 15 minute tutorial, instead it turned into a mini course! In this video, I break down how to color grade Nikon N-Raw footage from the Nikon Z9 in DaVinci Resolve. When the Nikon Z8 is announced, this video should also serve as instructions on how to color grade the N-Raw from that camera as well. We work through three examples from A-Z starting with in-depth explanation, and then picking up the pace. We start from the very basics of what Raw video is, to color tool explanations, all the way to building out a 20 node graph node tree.
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CHAPTERS
00:00 Intro
00:38 Raw Video Vs. H.265 / ProRes
01:51 Resolve Color Management Setup
03:57 Example #1 | Scene Color Theory Analysis
05:08 Example #1 | Camera Raw Tab Explanation
06:59 Example #1 | Camera Raw Tab Adjustments
07:57 Example #1 | Initial Node Tree Setup
10:06 Example #1 | Understanding Lift, Gamma Gain
12:22 Example #1 | Exposure Parallel Adjustments
13:08 Example #1 | Look Buildout Parallel Series
15:23 Example #1 | Look Refinement
16:58 Example #1 | Final Pass (Skin Tones & Film Grain)
18:21 Example #2 | Scene Color Theory Analysis
19:28 Example #2 | Camera Raw Tab Adjustments
19:58 Example #2 | Bleach Bypass
20:52 Example #2 | When NR/Sharpening Shouldn't Be First
21:13 Example #2 | Exposure Parallel Adjustments (HDR Mode)
22:42 Example #2 | Look Buildout Parallel Series
24:23 Example #2 | Bleach Bypass Adjustment
25:02 Example #2 | Look Refinement
25:34 Example #2 | Noise Reduction & Sharpening
26:21 Example #2 | Film Print | Color Managing Color Management
28:39 Example #2 | Final Pass (Film Grain & Halation)
30:17 Example #3 | Scene Color Theory Analysis
30:55 Example #3 | Camera Raw Adjustments
31:42 Example #3 | Initial Node Tree Setup
32:03 Example #3 | Vignette Correction
32:39 Example #3 | HDR Wheels ( Exposure Parallel Adjustments)
35:20 Example #3 | Look Buildout Parallel Series
36:39 Example #3 | Look Refinement
38:28 Example #3 | HSV Saturation Caution
38:45 Example #3 | More Look Refinement
39:06 Example #3 | Film Print (Color Managing Color Management)
40:46 Example #3 | Film Grain / Halation / Figuring Out My Mistake
41:56 Example #3 | Correcting My Mistake
43:44 Conclusion
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Опубликовано:

20 июл 2024

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Комментарии : 46

@GPZ611 2 месяца назад

Sidney have you seen Nikon USA’s recommended technique for editing NRAW-ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-CZrwFDMo01c.htmlsi=zGFyebZmNoMIY4ra…it differs from yours and it loses access to the camera raw that you use with your technique. I am getting confused by the different techniques

@sidneybakergreen 2 месяца назад

I talked with Nikon about it at NAB. Our methods are the same, one just has resolve handle it. The goal was to eliminate the blue clipping. My method and their method don’t suffer from this as bad as automatic color management (the box you can check) does. My method has the implied CST. However if your stress out the blue channel to much in camera it will still clip. You can still use my method. I’ll be pinning this comment

@davidcox1466 Год назад

I feel smarter every time I watch one of your posts. Thank you!

@techsuvara Год назад

Thank you so much! There is a ton of stuff for the FX6, but need more for the Z9.

@petersuvara Год назад

Absolutely exactly what I need! I’ve just jumped on to 100% nikon workflow. Moving away from premiere. After seeing how good the HDR output is and how easy it is to do, I’m all in on Davinci and Nikon!

@sidneybakergreen Год назад

Quick note: when you get to the final example, I actually decided to warm up the image in camera raw a bit more, and back off the shadow adjustment in the HDR wheels in Node 5. Sometimes you see things after you walk away from the computer for a second, which isn't possible when creating a tutorial :) Nonetheless, hit me up if you have any questions!

@KobusGevelspar 8 месяцев назад

Thanks a lot man! Really helpful. Any advice on the best export settings to prores and the socials?

@Gothenburgpiano Год назад

I found what I have been looking for. Thank you!

@hopeforthefuturesg 2 месяца назад

dude you are amazingly knowledgeable with Davinci resolve and color grading. Im trying to wrap my head around everything as a beginner but you have this stuff down to the science! A question I have is if you setting up your timeline this way would a color checker be of any use? I recently just bought one but never used one and have been typically shooting in Nikon N-RAW with the Z9. Im no professional but your tutorial on setting up for N-RAW is amazing and will be using it as a starting guide, but still have lots to learn. Thanks!

@backbenchers5893 6 месяцев назад

I've been looking for video to work on N-Log footage and finally I landed on correct place.

@cwoods1294 Месяц назад

Sidney can you do a guide for editing ProRes 422 HQ N-Log footage?

@SubhadeepGayen Год назад

Also make another tutorial for nlog footage h265 or prores processing

@andyguerrero6346 Год назад

Finally!!! 🙏🏽🙏🏽🙏🏽🙏🏽🙏🏽

@rajdeepchakraborty3259 8 месяцев назад

what I would have selected under the option output color space if I wanted to get HDR. Tutorial on HDR workflow with Nikon Z9/ Z8 would be of great help.

@sidneybakergreen 8 месяцев назад

Whatever color space your HDR monitor is calibrated too.

@GPZ611 6 месяцев назад

@@sidneybakergreen Thank you for this video. If I am editing and color grading on my apple laptop which is by default set to P3 - 1600 Nits, do I set the timeline to that? And will the final video look natural if it is viewed on someone else's Rec 709 monitor? Or do I need to set the output DRT to 709?

@FlingerFilms Год назад

Thanks Sydney! 100% Keep it coming!

@sidneybakergreen Год назад

Thanks you! I really appricate it 😌

@FlingerFilms Год назад

@@antonarap I found the over all process and explanation quite insightful. The explanations of why Sydney chose the approach is what I'll apply to my workflow. I learned something new.

@sidneybakergreen Год назад

@@antonarap You got me mad confused. I didn't use a Nikon LUT. I don't use any conversion LUTs 🤣

@sidneybakergreen Год назад

@@antonarap Nikon gave resolve their log/gamma profiles and raw debayer data. Resolves color management handles the SDR or HRD conversation. No need for a conversion LUT when using color management.

@sidneybakergreen Год назад

@@antonarap Yes. For the reasons I explained: it makes your life easier if you're working with non-raw footage. Second, if you don't know then look it up. Simply put: Yes, resolve supports Nikon Raw, and Nikon N-Log. If it didn't you couldn't import the footage. It was announced in the Mar 29, 2022 update. Second, Raw footage doesn't have an assigned color space. It's gamma is Linear, unless ARRI raw on the Alexa 35 which is Log raw, and its color data is a set of binary RGB values. Resolve will debayer this into any output color space. This works for REDCODE Raw and any other raw as well. You're likely confusing color science, which is a sensor calibration factor, with color space and gamma. Color science will always be baked in, and doesn't need a transform to interperate. You'll never be able to select an input color space for raw regardless. Try it yourself if you have some raw footage. Resolve handles it automatically.

@MysticApertureStudios 10 месяцев назад

Hi, i have a few questions about nikon raw editing in DaVinci resolve. I hope you will find time. Thanks. 1. What is the difference between nikon raw sdr and nikon raw log? 2. When setting the paramater of a clip, shot in 12 bit raw sdr, in DaVinci raw panel, 'decode using' is set to clip 'colour space' is set to rec.2020 And when i set the 'gamma' to Nikon N-Log the SDR footage starts looking exactly like a video shot in log. I want to know what is this behavior? Is resolve really interpreting the raw sdr video as raw log video?

@miaom480 Год назад

very useful. so as for NRAW+SDR and NRAW+NLOG, which one do you suggest while we shooting a sunset or sunrise such high light contrast sence? which one has more dynamic range we can edit in Davinci to get a better quality video? or they are actually same for the result? just when we shoot in NRAW+SDR, we make sure the correct exposure of the sky part in shooting sunrset? when we shoot in NRAW+NLOG,we make sure the correct exposure of the land(dark) part ? sry about my English,hope i make my question clear to you

@gamewebland 2 месяца назад

Nice Information. Sidney , how do you shoot video that also can find on back up data ? I tried with Nikon z9 and set up backup but only on slot has the video.

@mzsheriffe 15 дней назад

Its not allowing me to access the camera raw tab. So I wasn't able to follow completely.

@voederbietels 4 месяца назад

u r a true master

@x.4132 Год назад

wow. great video dude

@SubhadeepGayen Год назад

Though I have z8 it's same imo, loved the tutorial,

@sidneybakergreen Год назад

Yep! I should change the title now that the z8 is out lol

@MichaelAres Год назад

Can we get how to edit NLOG in Final Cut Pro? I’m gearing up to get either a Z9 or the upcoming Z8.

@sidneybakergreen Год назад

Possibly. I do have to ask, why Final Cut though? I understand it's a good editor, but as far as color goes, you'd be doing your footage a disservice. Especially with 10bit log / 12 bit raw.

@MrDenisaffonsodebarr Год назад

I extend the question for premiere, any way to edit in premiere?

@odedia 6 месяцев назад

Excellent guide! I noticed that when I change the saturation at the last step, the background begins to get very noisy. It creates an even worse effect when exporting to H265. To overcome this, I set the saturation at the Camera RAW panel at the first step. Seems to work better with the Nikon Z9, at least for me.

@sidneybakergreen 6 месяцев назад

Try using the gain wheel and be more conservative

@VisualMann 9 месяцев назад

how to open NEF in davinci 17 ??

@troyhouse253 10 месяцев назад

Is it just mine or has the color management setup window changed completely? I can't choose Nikon in Input lookup table but can choose Nikon N Log in Output lookup table. I think Davinci changed it since then

@cwoods1294 Месяц назад

Additionally, why not use the Camera Raw setting in Project Settings for decoding N RAW?

@sidneybakergreen Месяц назад

I adjust them on a clip by clip basis. I don't really need to change any global setting in RCM

@EricLouisYoung 4 месяца назад

Help me confirm a bug in the z9 raw. Go shoot raw in SDR in aperture mode. Shoot some normal outdoor scene. Move the camera around between some bright area and dark area. Now bring it into resolve and do you also get wild exposure jumps like i get?!! It's never visible while recording or in the proxy file, but it goes crazy in resolve. Remember, it has to be in SDR and auto iso. Here's what i get ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-WSLM6xV8gy4.html

@CINENIMUS 4 месяца назад

You don’t need to “always” do noise reduction when shooting RAW if you expose correctly. This is a common misconception amongst new shooters. RAW usually favours more light. Also sharpening should be last node. Maybe this is an ironic video?

@sidneybakergreen 4 месяца назад

Are you going to put gas in your car if the tank is full? Then why would you NR if you don't need to? Also, It's not really a misconception. Even when exposed properly, you're going to have noise from the raw signal. Now if that noise is an issue is pretty camera dependent. For example, the noise on DSMC2 sensors feels a lot like film grain. Similarly, a lot of Sony sensors have the same feel. Now there is another type of noise that will become readily present if you underexpose and that is Shot Noise. And it's going to take a lot more than temporal NR to fix that. Furthermore, as long as I am not making a temporal adjustment in a place where it will cause artifacting, the node placement is personal preference. A lot of things in color grading actually come down to preference. That's why there are many different methods to do things