Finally someone with good CST and node logic when dealing with CDNG! This is my workflow too, however I have seen people use P3D60 colour space and linear gamma as the raw settings/input colour spaces… which always give me very clipped/horrible results. So I stick with the Blackmagic Design inputs.
P3 D60 and Linear because the camera sees light linearly. You want to do the log conversion waay down the chain. Log is efficient st acquiring data, mucv more so than linear, but is horrible when it comes preserving tonal range accurately. Blackmagic film log is some of the most inaccurate ones to me. If you go with P3 D60/Linear, you're not just limited to what the raw tab gives you, you can then do a CST to literally any gamma and colorspace you want accurately, because you're doing the conversion down the chain. So do the log conversion in the first node, not in the raw tab. I'm able to use my GHAlex Lut that was made exclusively for the GH4/5 VLOG-L and it behaves exatcly the same way as it did with my GH4 footage.
Hey this is amazing! But what do you do if you’ve already edited an entire sequence timeline in Premier of ProRes Raw footage and need to bring it into Da Vinci with an XML or something? (aka my problem, haha) thanks!
Can i ask why would you convert pro-ress to cinema DNG? it's still going to be the quality of the pro-ress and not DNG there wont be any information gained by the conversion process hence why i am confused you didn't shoot DNG initially. If you want to take advantage of of having all the information of the DNG purest RAW format out there then i suggest you shoot initially in DNG. Pro Ress is not a RAW format it certainly can be a high end if you shot in Pro-ress 4444XQ but it is not classed as a RAW format.
First i just want to clarify that it’s not ProRes but ProRes RAW. Why ProRes RAW to CDNG: Because ProRes RAW is not natively supported in Davinci Resolve. So to take advantage of the metadata and 12bit from ProRes RAW we have to convert it to CDNG first for native support i n Davinci. Why not shoot CDNG in the first place: My system can’t shoot CDNG, but it can shoot ProRes RAW.
@@EzraaaDave No, a7iv can only output 10bit. But the z cam, which I used in this example can output raw over HDMI. Depending on the recorder it get recorded as prores raw or black magic raw.
Thanks for the tutorial. Following along with this process because I recently discovered a noticeable difference between going from ProRes RAW to ProRes 4444XQ, vs converting to CDNG. It was especially apparent in the highlights, and I was surprised how much it "flattened" the dynamic range in those areas. Highlights on someones skin, etc, were crushed in the XQ format, but are still very present in the CDNG. I'm converting from a Sony A7s III of Ninja V. This was the first time I've converted into the Blackmagic Design inputs, many other tuts leave it in the Rec 709 space.
HI! Thank you so much, it helped me a lot because I'm fairly new to grading. I have one question. I shoot Nikon Z7ii with Atomos NinjaV to ProRes Raw, shouldn't I put input Gamma in the first CST to Nikon N-Log instead of Blackmagic Design Film?
WOW! Am I glad I landed on this video; This takes care of everything I have been wanting to do with my ProRes Raw in Davinci Resolve. Thank you, Thank you, Thank you.
HELLO, it's me again... a question, do you know DEHANCER PRO? In this chain in which node could we introduce this plugin and what would be its input configurations?
Hi! Yes, but I don't use I personally. Just put it in between the CST's. Make sure your timeline is in DWG or else specify the input color space in the DEHANCER plugin. I would introduce this plugin after I've balanced the image in the node chain. It depends on your workflow but you could probably skip the CST out and just tell DEHANCER to output rec709 if you use it as the last plugin?
Hi Viktor - great video - thank you! Quick question - do you notice that when you choose "Decode using - clip" & "White balance - as shot", the white balance value shown is different to what you had the camera set to? For example, I set my camera white balance to 5600 - but it shows as 5303 in Resolve. Do you experience something similar?
Yes, it’s the auto white balance in the metadata. I just set it to the value I want in post. This workflow is not as flush as braw, but it gets the work done with some tweaks.
Thanks! I’m using the z cam s6 and Sony a7iv. In most cases I’m not doing anything other than csts. It’s set to standard rec709(scene) in the color management tab in project settings.
Such a helpful video, thank you so much. One question, do you do all of your node adjustments between the two CST's? Or was it just for this specific grade?
@@viktorbrunoe Hi thanks for the reply, Yeah I mean multiple computers, a days ago I just bought RAW Covertor with my friends, we bought it together cause we think, it can use by 2 computers, but we stuck like we dont know how to use it with 2 computers. Does it use for 2 computers like Davinci, something like that. Thank you.
@@bunzopictures4923 I’m not sure but if you buy it on the AppStore with your Apple ID it’s tied to that. You can maybe log in with your Apple ID on another computer and install it. But I’m not sure if you can use it simultaneously. Try it out!
Hi Viktor. Great video. But it brings questions. If you have mixed camera how you make the colors similar since in your workflow you are not telling davinci if its slog3, vlog, clog etc. Is in this conversion important to get matching between the cameras?
If you have mixed cameras with different color science it shouldn’t be that hard to match them in post if shooting raw. But you could convert the log profile to another log profile you want to match before the dwg sandwich. One software I use is cinematch. Works really good 👍🏻
Not sure if this answers your question. But we want to convert the prores raw to cdng for native support in davinci resolve. If you work in Final Cut you don’t have to do the conversion because it’s supported natively.
How fast does it convert from ProRes Raw to cDNG? On what computer was it converted on? How does the conversion time compare to ProRes Raw to ProRes 4444?
Hi, the conversion takes about the same time as transferring the files to my computer. Maybe a little bit slower but it's close. That's why I convert straight from the card. I have never converted to prores 4444 so I can't say. This example is done on a 2021 MacBook Pro M1 Max.
My computer is quite old, and I tried converting ProRes RAW to CDNG, but it's a time-consuming process, and the file size increases. So now, I'm using Final Cut for basic corrections like ISO, white balance, and basic exposure correction. After that, I export it in ProRes LT or 422 and then use it in DaVinci Resolve. Is this approach correct?
