🫠 you right! Thanks for making these awesome videos, I feel like yours are the only ones that give me all the information in a way I can process, try, and then share to audiences. Also have you thought about doing a video on the iPhone 15 log video workflow for Davinci? 👀
You should really consider using lossless compression, makes a big difference with the sizes yet it is lossless in terms of quality. Even ARRI has a program to reduce its uncompressed RAW to save drive space.
Thanks for the video, I noticed a few things you may want to try, I did the resolve colorist training recently but I'm primarily a shooter. I learned so much from that training, mostly about color spaces, the settings within resolve, and how to get the best workflow. I'm not sure if converting from praw to cinema dng affects this but you should still change your raw settings to cinema dng and most importantly change the input color space of the stuff you shot, ie slog 3, if you have davinci color managed on, you should immediately see the slog 3 clips take on 709 look, basically it does most of the work for you then you tweak your color balance, its the "DaVinci color managed" setting here that does this. I noticed this first with working with braw clips but didn't know it was possible with non blackmagic footage until I did the training. It's color managing from your input space to the timeline colorspace, which you have as rec 709 2020 and that's why it the footage is not washed out because you told resolve the color space/gamma, it then applies a tone curve saving you the time of having to balance the log stuff to 709
It's not a tone curve or tonemapping, it's a mathematical calculation that is non-destructive. ACES has their own calculations and so does Davinci Wide Gamut
This is great! I just bought a FX3 and use resolve 18 Lite. So was bummed when I couldn't use the in-camera 10bit 4.2.2 codec AND to find out that I need to buy RAW to convert files- I bought a SSD to “activate” ProRes Raw, but like you said the files are YUGE, and need Raw which is over $100. I'd probably only use this for future commercial work. Could you share your current workflow, and settings on the FX3 v4.0. And do you use DVR Studio? BTW; Sidney is awesome and love the workflow for RAW is In depth, and love your channel and content also!
I need help with a problem. My videos recorded in Prores Raw have a green tint in the shadows. Anyone else with this problem? My camera is a Lumix S5. Thanks!
It looks like you have experience with the Blackmagic video assist and the ninja V. I have seen a few (literally 2) comparisons. I would love to know your views on how both devices compare. Also, fan noise, I keep hearing the ninja V has bad noise while the video assist does not, but nobody covers it in their comparisons! Thank you and keep it up!
I've tried Raw Converter app, but it seams this app do not support Lumix S5 files for some reason. If anyone would be familiar with other options how to convert those 6K Raw files to use in Resolve I would be very much appreciated.
Interesting little episode. I understand that you've had to adapt your Prores Raw footage before Resolve will play nicely with it, however I very much would appreciate your experience on the image quality differences between ProRes Raw and ProRes HQ in Resolve. Are you talking Night and Day differences or is it more subtle in the image quality provided both codecs were shot with the correct White Balance and exposure in camera? I'm interested to experiment with ProRes Raw on my GH6 and Ninja 5 but I did not think this was possible with Resolve. I'd also seen a few RU-vid tutorials that said there wasn't much difference between the Raw footage and the well respected ProRes HQ codecs to make the effort worthwhile. I just do all this for a hobby rather than doing it for a living. Cheers
Once you start color grading the difference will be evident. While ProRes is good, it’s still like a high quality jpeg that gives you latitude while ProRes raw is like having a raw photo that gives you full control.
@@JaymesMedia May I ask if you have worked with both ProRes RAW and ProRes HQ? And apart from adjusting the WB what other features would I benefit from as a non professional please?
Great video, very informative and clear! At 3:13 it looks like ISO is greyed out. From my understanding, when importing BRAW you can edit the ISO here. Is the greyed out ISO to do with the CDNG-conversion?
This video was the first time I used the eldikrone: amzn.to/3gCpt3P But you definitely don’t need something expensive like that for these movements, before I had been using this: amzn.to/3EYwfua
…it’s an exceptionally good capture, edit, and deliver format. It’s still the most commonly used format on major TV when heavy VFX aren’t used. Look at the BTS of Game of Thrones and look at the capture format - they are Arri cameras, but unless it’s a VFX scene they are generally shooting Prores.
@@joecline__ How did you get this LUT onto your NINJA V ? Everytime I try to load the SGamut3CineSLog3_To_Cine+709 cube file, my Ninja V gets an error trying to open it.
Does Resolve support 12-bit? I don’t see in the specs that it does. That’s the benefit of recording RAW on the Ninja that got me hooked. Otherwise I don’t find much benefit to shooting RAW vs. XAVC-SI. But I really miss 12 bit when I go back to 10 bit. But that being said, sometimes I’ll shoot S-Cinetone if I’m in a hurry and I’m always impressed with how nice that image is considering it’s a smaller color space.
