I found this video after watching Carlos' video on BRAW and RED RAW, you commented on it about RED RAW and other raw formats saying it can be done with log or any other format. I own the Komodo but want to move to another camera and this information here is golden. I use to think that I "NEEDED" RED. I love it dont get me wrong but I feel now that I can create what I wanted out of this camera with any camera now. Thanks for the profound info.
Please follow along and grade yourself using similar methods. Links to footage and additional materials are provided in the description. If you would like to have better qualifiers and not work in log, try Rec2020 gamma 2.4 as your timeline color space and choose Rec709 gamma 2.4 as your output color space. Choosing rec709 gamma 2.4 as your timeline color space will not provide a wide enough color gamut and you will have red splotches as a result. Please keep in mind that unfortunately RU-vid wrecks video. I did not lift shadows to compensate as this video was done for demonstration purposes. Grade to your own personal taste.
I just followed your advice and man did it make my BRAW footage look amazing. That's way easier for me to get it back to a natural looking image in post. Wow you've saved me so MUCH TIME in post. I've watched a few videos on your channel and your information helps big time. You've gained a new subscriber!!!!
Hi Tony, thanks for your aproach!!! really enjoying this metthod! Have you noticed the dificulty of the eyedropper tool to make a selection on skin when using this method? like in MINUTE, 30:09 Avery Peck Mention in his tutorials that Davinci Resolve has a hard time working with log footage. I like your method of making quick looks!!
It might be more ideal to use other methods for that kind of situation but I haven't tested thoroughly. That shot is very dark with dark skin so it might be more difficult than other situations. I tried the same thing with a lut workflow and doing the selection after the lut and still had a hard time grabbing the skin tones easily without getting some shadows
Hey man, your question had me doing head experiments and I came up with this... Timeline colorspace Rec709 gamma 2.4 is going to leave you with really bad oversaturated reds, so that is a no-go for me. If you test it out, desaturate, you will see black splotches everywhere that oversaturation occurred in the colorspace transform in your timeline. We need a wider gamut. Working in log will leave you with controls you may dislike such as qualifiers. I never minded working log as I don't use qualifiers often. The solution to the issue is: Timeline color space: Rec2020 gamma 2.4 Output color space: Rec709 gamma 2.4 Why I did NOT think of this before makes me upset at my own brain. Try this out and I think you will be satisfied with the results.
I'm loving the results I'm getting with this! I have a question though. How do I use this when I have mixed footage? Or am I doing it wrong by trying to mix formats? I have some graphics that I've done and imported in, but then they get all funky looking. Also I tried some URSA Mini Pro braw with some DNG files from the original URSA Mini 4.6K and the braw looks great but the DNG looks all blown out. Thanks for these great videos!!
For mixed footage you have to be sure to select the correct input colorspace for each file that isn't what you selected in the RCM. If the input colorspace you select on the RCM is bmpcc4k film v4, all of the footage will be assumed as this input colorspace. Right click the thumbnail as shown in this video and select the appropriate colorspace for the footage that isn't the RCM input colorspace you chose. This should correct the problem. If you are using this method for an edit timeline then graphics will not look right because the roll off selection in RCM is limiting the luma values. You should use this for grading timelines, not editing timelines as there is currently no manual bypass option for files you don't want to through the RCM. What you can do is create a separate project file that will only be used for editing and render prores or dnxhd for editing in that edit file. This is normally what I will do since I don't want to run color grading renders through each time I render an edit iteration. Alternatively, you can use the same project file but turn off the RCM and after rendering and importing your dnxhd/prores renders from your color grade. Use a different edit timeline and go from there. I hope that made sense and either should correct the graphics issue you are having on your edits.
Hi this is great stuff but it seems that in davinci 18 this method is not available anymore. Do you know how to access the IPP2 workflow in the newer versions? Thanks!
RED IPP2 is made for widegamutRGB/Log3g10 and not blackmagic colorspaces. You can choose different timeline colorspace if you wish, however I found that through playing with timeline colorspaces, widegamut RGB/Log3g10 has been the easiest to work with. Considering how IPP2 is Red workflow, it would make the most sense that this would work the best with this particular workflow. I explain the benefits of using this method in the video, especially in how it pertains to clipping a saturated colors.
@@TonyDae Yes I saw how it pertains to clipping saturated colors, just didn't know if this would be an ideal timeline color space for my newly bmpcc4k camera.
This is such an excellent tutorial, I genuinely learned a lot from this one that I can use in my grading projects. I have one question though. I am working with RED 6k footage, However, I am NOT USING RCM. I am trying to grade it from a log state because I purchased some let's that are supposed to be applied on a log state and they are doing a better job than the RCM changing my log to rec 709 . How would you recommend me to white balance it? Does the method you showed at 13:03 still hold good?
Generally luts are built with a white balance determined. I would first look at what white balance is supposed to be used for that lut. If the footage is shot in the same white balance as the lut is built for then it would only need a small balance correction. If not, it won't look exactly right and 10 bit log may not be enough to pull 32k to 56k for example and look right. Use a white balance correction before your lut. If you are talking about doing a tint job to shadows and midtones etc, that's different than white balancing. White balance is for corrections while pulling a shadow key and pushing the color toward teal is more a part of grading. The tint job down at 13 can work provided the shot is lit appropriately for it and you can pull a good key. This might need to be done after the lut because the lut will be providing the contrast needed to get a better key.
@@TonyDae Thank you for your response. that made things a lot better for me. If I understood correctly. Moving forward I'll try this workflow ; 1)I will white balance first and correct exposure etc.. 2) Put on the LUT 3) Do the tint job for an overall look. 4)Fix skin tones if needed. Last 2 questions If I may, :) ; What you did in the video at 10:08 (where you grabbed a piece of the actresses dress) and made sure it falls right in the center of the vectorscope, that's white balancing right? you used both color temperature and tint to achieve that. Can I do the same thing while trying to white balance my image? (as you advised I'll white balance before the LUT, so the image looks really washed out.) or is there a better method you'd recommend for white balancing LOG footage. In the above-mentioned workflow, where I am correcting /grading from log state, Is it important that I tell Davinci Resolve that my final output color space must Rec 709 and NOt log? If so how do I do that? When I go to Project Settings, and select "Davinci YRGB" there's no option to choose output color space. Its greyed out. It's letting me choose the output color space only when I use RCM which I don't want in this situation.
You can white balance like I showed here with log and yes what I show in that section of the video is white balancing. There are many ways to do it and that is one that I use. Some people can eye ball it with colored scopes and I can't really do that well. Sometimes auto white balance with the medicine dropper works just as well. Other people sample white or grey and use the RGB curves to balance. There are many ways to do it but in my opinion it's best to always start at neutral and then add your grade... So proper white balance first is important. If your are grading without color management you won't need to indicate an output color space. Your LUT is supposed to be doing the rec709 conversion for you.
@@TonyDae I am sorry to keep bugging you with so many questions but one last one ; After a few experiments, I was not able to make sense of what I discovered. I was wondering If you can shed some light on it if possible? 1) When I Click on Camera raw tab, I click on decode using CLIP(NOT PROJECT or Camera Metadata , I MUST do this in order to change the color temp and ISO) a new option popped up, "COLOR science" I selected IPP2 over legacy and Color space to REC 709., Immediately the image looked much better!! how and, why did this happen? Does resolve automatically use some inbuilt LUT to convert my log image to rec 709? 2) My Original LUt, now looks terrible :(. It looked wonderful when color science was legacy and colorspace was dragon color 2 . Does that mean the lut I purchased was designed for legacy, not IPP2 3) as a continuation when I decode using clip and color science is IPP2 and color space is REC 709, is this option the same as using RCM and choosing the output color space as REC 709? If not, how do I decide which path to take ?
Thanks for the video , So helpful! The only thing I Can’t find output tone map in davinci 18.6 , the settings are slightly different, any suggestions? Thank you 🙏🏼
Haven't you notice that "highlight recovery" checkbox in the Camera Raw tab doesn't work properly, when you work in RCM? It stops working even when the checkbox is turned On.
You will have to explain what you mean or provide a visual example. The highlight roll off feature of IPP2 will roll out the highlights in a different way, but the highlight recovery checkbox still works. In fact, when I have used it on my projects it helps to roll off the edges and mitigate artifacts when using the check box. Please provide examples via youtube or another way so we can see what you mean.
I noticed, this happens when of Render Cache is turned on. For some reason, rendered media can't have Highlight Recovery... So Highlight Recovery works as long as a clip is not rendered, and than it stops. That's strange
