THE BRIEFCASE - ProRes RAW WORKFLOW and COLOUR GRADING Tutorial

Here's a brief overview of my workflow using 4KUHD Pro Res RAW files recorded from my Sony Alpha 7S Mk3 camera onto the Atomos Ninja V+ monitor recorder and an explanation of how I convert them to Cinema DNG files that Da Vinci Resolve can recognise, using the Assimilate application.
After the import process is complete I give a basic tutorial of how I balanced the colour and graded footage for our film The Briefcase using node adjustments under the Kodak 2383 film print LUT that comes built in to the Resolve application.
Hope it's useful! Please leave your comments and let me know if I am doing anything wrong or if you would do anything different - the technology develops so fast nowadays so it's all a major learning curve for me too!

[@darielrodriguez6984]

Thank you for making this video. I was really neglecting the DaVinci switch from Adobe...

[@XtraxLondon]

@@darielrodriguez6984 it’s a great program - I’m still discovering new techniques

[@TheVDAP]

Layer Node in Soft-Light or Overlay

[@XtraxLondon]

@@TheVDAP I used Overlay but let me know if that’s what you would do?

[@BarelaFilms]

Man... This workflow are extremely wrong.

[@XtraxLondon]

I’m just showing what I do (never had classes or been taught the right or wrong way) but I’m sure there are things that I can do better so please let us know how you do it so we can all learn - I’d love to improve my technique.

[@vanburen08]

From the tests that I've run with working with CDNG, the RAW debayer works better with P3 and Linear. Most cameras are using Linear RAW, except the Arri Alexa.
From that point, I use a CST to go from P3 Linear to whatever color space I like working in. My transform to Rec709 is done with either CSTs, LUTs, or Plugins I use. I'll typically transform the RAW from P3 Linear to Arri LogC3. From there I'm able to use my footage with an Arri workflow (which I typically like.)
The CST takes that Linear and maps it to a better Log Space than Blackmagic. The Blackmagic color space and gamma from the RAW tab isn't Davinci WG. I normally have wonky colors when using that transform, hence why mapping Linear to a better Log Space.
Give it a try. All the grading is done between the CSTs, or CST and LUT, etc.
I've had great success with the Sigma FP RAW files.
Also, the Exposure setting in the RAW tab is like using the ISO for other cameras. At 0 it is the native ISO, and when moved up one stop it's the ISO above, and when moved down it's the ISO below. So, if your camera has a native ISO of 800, exposure up one stop to 1.0 is like going to 1600, the same is if you go -1.0, it'll be 400.
A good rule of thumb is to leave all the settings alone in the RAW tab except for WB, Exposure, Sharpness, Tint, and maybe saturation. After the RAW settings, use the other tools for your balancing and looks. It's better to start from a very neutral RAW setting.