new color science just dropped 

I'd love to know this too!

Yes. It has a grey tone on the export

Is this a viable work around?

Same question here.

Yes, if you are on macOS, you should tag Rec709-A if you use QuickTime as your media player and need it to match I prefer grading in a dim room at the Gamma 2.4 standard of my reference monitor, then dealing with any gamma tagging and gamma shift compensation at the end before export, however if you prefer working from the start with Rec709-A that should work perfectly fine

This exactly what I was thinking. All of your colour space tools would be broken or working incorrectly?

No

And tbh I do not understand or see the misleading on the hole CST nodes in this power grade. But from the beginning: 1. the " to LogC CST" should convert the Sony Slog-3 footage into Arri WG 3/Arri Log C3 but convert to color space: "Use timeline" (and the timeline is Rec709 Gamma 2.4 or any else like Rec709-A or Gamma 2.2 depending on what is the setting in In Colour Management Settings) and Gamma set Arri LogC3. 2. The next CST is including into the Halation35->To Linear compound node and convert ArriWG3/Arri Log C3 into ArriWG3/Linear. And the last CST is in this compound node converts ArriWG3/Linear to ArriWG3/Arri Log C3. 3. The next CST depending on if you use CineonOut converts Use timeline/Cineon Film Log into Use timeline/Gamma 2.4 ... but the timeline now is ArriWG3/Arri Log C3 not use timieline/Cinenon Film Log.. so why you convert the incorrect Gamma and input color space? 4. The same situation in PrintOut compound node- the Rec709 Kodak 2383D65 LUT needs the Gamma set to Cineon Film Log but now the Gamma is 2.4 not Cineon.. If I missunderstanding sth please let me know 🙏

Also wondering☝️

I would recommend using the Blackmagic Gen5 powergrade, but add a node prior where you convert from the OG BMPCC space to black magic Gen5 using a CST

Alternatively, I’m not sure if this works or not because I’ve never used the OG BMPCC, but blackmagic designs their color science to be backwards compatible with their raw formats, so you may actually be able to change your footage to Gen5 color science in the raw tab. Not sure if this applies to the OG BMPCC or not

You could do gamma compensation for the web at the project level, but you’ll also want to adjust your viewing environment to match the brighter gamma & be grading in a brighter room. The problem with doing color work in a brighter room is you begin to have issues with screen reflectivity. I recommended leaving the project at the Rec709 Gamma 2.4 standard, grading in a dim environment, and then if you want to do gamma compensation for the web, do that before export with a new CST at the timeline level. Technically speaking, the gamma shift occurs to correct for people viewing in a bright environment or against a white webpage. So if you’re adding compensation to make it look correct in your dark environment, just be aware that then your grade may look darker to people in a bright environment. You kind of just have to choose who you are grading for. Our human vision & perception of contrast changes based on our surroundings and that’s something you can’t control.

@@TomBolles ok thank

me too, using cineprint 16 with the a7iii’s 8 bit footage is difficult

@@matthewazn yes i would love to know the answer for this too!

Black magic app

I made the F-Log 2 version because it has extended dynamic range, but you can still use it on F-Log footage, you’ll just need to turn off the F-Log 2 node while leaving the CST at F-Log

@@TomBolles What you mean is to shut down the node called FLOG 2 adj which is inside To LogC?

Yes

Use Rec709-A gamma tagging in the advanced export settings if you want QuickTime to use a more accurate gamma. It will still look different after uploading to web with gamma 2.2 conversion. I generally do not compensate for this but some people like to in order to prioritize darker viewing environments. In that case, you would add a CST to the timeline level before export and transform your entire project from gamma 2.4 to gamma 2.2. It will then look darker in the viewer & export, but it will match when uploaded online

Yes, the Logc3 Alexa Mini footage was the main camera that I profiled against the film, as the ALEV III sensor has been the ever popular golden standard, and everything else is matched to Alexa before feeding into the emulation. I did also shoot Alexa35 LogC4, so maybe that + color management for HDR will be my future project if I ever get around to it, but it was not my priority as those are more niche to most of the RU-vid audience, and even my own work. I'm mostly renting Alexa Mini & LF and everything is finished for SDR on the web still. But when I have shot with the Alexa35, it has been very impressive. The dynamic range in the highlights is absurd. It's a lot more like film where the general rule of thumb is "when in doubt, overexpose" because you don't have to worry about highlight clipping much at all. You just want to keep everything above the noise floor.

@@TomBolles Good to know, thanks for sharing. The result is very nice. Hopefully a lot of people also feel the same

The CST & additional color mapping is already preset for your camera within the powergrade. You just have to apply the appropriate one for your camera

They are not LUTs, they are Powergrades for use in Davinci Resolve only

do you already have an answer on that? i am curious too

pretty sure grain is only available for studio

You can move it at whatever hue angle you need instead of having to go back and forth between different sliders, so it's a lot more intuitive and faster, which is valuable when you're going through a lot of shots. Working early in the node tree & under the emulation, the results appear very natural. Everybody has their own grading preferences though, so I always recommend implementing what works best for your own tastes & workflow

Same here, any suggestions guys ?

@@kopoko. I fixed mines make sure you have the most recent version of Davinci

You can use the LUT version in FCPX

@@TomBolles 🙏

@@TomBolles So I should purchase cineprint35 powergrade and the luts are in there?

I’m working primarily in RCM (DWG/Davinci intermediate) pipeline and want to implement your power grades in my workflow. And it will be highly appreciated if you can tune your PGs for this purpose.

@@NKRDBLI think you may adjust the node tree by yourself adding a CST and working in DWG color space during your major adjustment.

Yes, you can absolutely use the new tools in the Resolve 19 Beta. With something like that, I just recommend experimenting with it yourself to see where you like using it best in the node tree.

By default it matches whatever you had in camera. If you wanted to add exposure compensation to adjust for overexposing in camera, you could lower the exposure at the beginning of the grade in linear space by halving the gain for every stop (0.5 gain = -1 stop, 0.25 gain = -2 stop, 0.13 gain = -3 stop etc) I often monitor with -1 stop LUTs when shooting on Arri cameras to achieve a lower noise floor. It lets you expose to the right while still monitoring a normal looking image You can make your own -1 stop LUTs for any camera by taking the normal LUT you want to use, and then prior to the LUT you change the gain in linear space to 0.5. Then export that as a new LUT

@@TomBolles thank you dude! very much appreciated for the advises

@@Envisual it is compatible with cclog 3, u have to use "color space transform" .

@@TomBolles You’re the best, thanks so much. Can’t wait to try it out for myself!

@@TomBolles Is this the same for F-log?

@@TomBolles Can I use the Canon OSM Luts provided while shooting on C-Log 3? Or will I need change something?

Support has now been added for C-Log3, F-Log, and DJI D-Log 👍