RAW CinemaDNG Color Space Explained ⎮Magic Lantern Crop Mood
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- Опубликовано: 28 июл 2024
- In this tutorial, you will learn how to master the color space for Magic Lantern cinemaDNG Raw videos in Davinci Resolve. If you're a filmmaker or videographer using Magic Lantern in your Canon camera, it's crucial to understand the importance of color space management to achieve high-quality and accurate color grading.
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Crop Mood Tutorial Part 1:
• Canon EOS M Crop Mood⎮...
Crop mood Tutorial Part 2:
• Master your Canon EOS ...
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Canon EOS M
Magic Lantern ⎮Crop Mood
Davinci Resolve Color Space
MLV ⎮cDNG Raw
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Развлечения
You're becoming the best magic lantern channel
Thank you!!
Correction, "he is the best", especially when it comes to color grading
Dude I just tried your Rec.709 Node tree and project settings and my god I'm FINALLY getting the exact same colors as the MLVApp and It took my grades to the next level. My arrogance got the best of me the last time I watched this. Thanks a ton!
Great to hear!! I'm glad the video was helpful. Always be sure to set tone mapping to none in the first CST IN node, and tone mapping to luminance in the CST OUT node,. Next Monday I'll upload the video on how to expose with the ML false color (I still owe it to you) and it' will be very interesting. Stay tuned!!
Thanks Sergio this is an excellent tutorial, really well explained, it takes the EOS M CNDG to another level
Thank you for watching
This was so helpful as everybody just tells me what their settings are. You explained how those settings all relate to one another. Definitely the best tutorial I've seen in a while.
Thanks!! I'm glad the video was helpful
This is brilliant. Exactly what we needed. It's the definite workflow that gives all the tools to grade in a managed and least limited way possible.
After more than a month of researching and trial and error I got to a similar place, but I wasn't aware that the input color space doesn't matter with raw. This would have been sooo helpful when I was starting out. And it still is. Thanks so much! It should get pinned in the fb group as a definite, fundamental guide, that it is
Thanks!! The important think is to match the color space and gamma that you select in your RAW tab with the color space and gamma in your CST node. It's important to pay attention to your tone mapping when you set your CST node. I explain it in the video
Thank you Sergio! I've been fighting my Chronos 2.1 high speed camera for 4 years. It uses DNG as it's raw output and I had been doing big colour manipulations to get it looking good. This method works perfectly. It turns out for my camera the Blackmagic Design decode settings are almost perfect. This will save me so much time in post production!
Thank you!! I’m glad it was helpful
Same I have a Chronos 1.4 and the method Sergio uses here works very well. : )
@@chinitopinoy1726 this method works for any cDNG file. Thanks for whatching
Yes, I just tried the Blackmagic Decode option for my Chronos 1.4 and it works close to perfect as well! : )
Eos m is most underrated camera, this camera puts you in limits, but if you learn how to use it u will grow as cimetographer. I have 7 years of filming experience with different cameras but i was bought eos m a few days ago and i was shocked what can do this little camera. Nice content mate 👍👍👍
Thank you. When I got my EOS M, after filming my first shots, I was surprised by how the RAW image was so similar (in terms of feel) to an analog image shot on film. So yes, this small camera can be great for people who want to learn to film but don't have a big budget to buy equipment
Thank you very much for this video. This seems very logical once you know it.
Thank you!!
Excellente! Grazie. Really like the lighting and the look/grade on the talking shot. 👍
Thanks, I'm happy with the result of the talking shot
Wow, this is pure gold, thanks a lot for this
Glad you like it!
Yet again, brilliant video Sergio!
Thank you!
Incredible, amazing work, explained in details. Very useful.
Glad you enjoyed it!
SO thankful for you Sergio. Keep up the great work
Thank you!
Finally !!! Someone knowledgeable that explains this …. Fed up of RUclipsrs always converting to Blackmagic without understanding why … Congrats ! You’ve got a new suscriber !
Much appreciated!! Thanks
🤘👏👌Well done
Thanks for watching
Thanks for th video, Sergio. As usual, it's very informative resources you have here.
I'm very Glad you liked it! Thanks
Hello Sergio, excellent tutorial, clear explanations and detailed. I use this workflow since a long time. Except for one thing. I change my colourspace from Rec 709 to Aces cct then of course the adjustment nodes and on the end from Aces back to Rec 709. With this colourspace I benefit working with the colorwheels the profit of Aces.
Thank's a lot for all this work you put in for this tutorial.
greetings
Richard
Glad you like the video. Thanks!! If the ACES working space give you good results use it. Finally each one find the best workflow based on the tools we are used to
Good job Sergio!
Thank you!!
masterclass !
thanks!!
The best!
thanks for watching !!
Thank you for the Tutorial 👍
Thank you for watching !!
I had to give you a subscription, you are one of the best RUclips channels for Magic Lantern.
wow!! Thanks a lot!!! See my video on how a recreate the Blade Runner look using Magic Lantern
@@russo-filmmaking Yes I did, excellent work, I'm a fan of this channel.
Thanks for this really excellent tutorial!
Thanks for watching !!
Super, thanks
Thank you!!
Great video! Hope you also make a breakdown video of your advance node tree structure. Thanks!
I'll do some breakdown videos on other shots soon, one on my experimental horror short that you can watch in the channel and other on a future video recreating the cinematography of a blade runner scene.
You are the goat 🐐
thanks!!
Thanks!!!!!
You're Welcome!
Thank you so much for such detailed videos. Your videos are short and informative. I wanted to ask Va if it's possible to make a video about color correction in Davinchi Resove. interesting classic or your own approach using wave form, vector scope and other. Your comments on where to start are very interesting (as an example: create the first node, set the white balance in it, then the year of exposure ... increase the value to ...) thank you very much, I look forward to your videos!
Hi, there are a lot of tutorial on Davinci basic colors grade, and they are amazing, I don't think I can do better. I will try to be more specific and more detailed in my next color grading videos.
top
thanks!!
Thank You - this is dope. do you choose a flat picture profile like s-log3 when exporting from mlv or do you leave it as it is?
That won't work with cdng. You would need to export prores and that workflow is different to what is happening here.
The video talk about how to handle in Davinci Resolve cDNG RAW files coming from MLV. cDNG have more a Rec709 flavor, not a log profile. If you export prores log profile from MLV, the workflow is different.
Pro information as usual. I think I prefer setting those things in project managment setting because it applies to all clips. There is a RAW setting in settings that I don't understand but as it says RAW I always think it is important. Any ideas about that?
The raw tab in the settings is exactly the same thing as the raw window in the color tab. Only difference is that it applies to all clips instead of just the selected one
Davinci Color Managed take control over RAW settings in your project settings so you don't need to do nothing with that tab.
I love the detail you go into, which really helps when you're trying to use such powerful programs like Davinci. I see that your CinemaDNG clips are squished in your media pool. How do you stretch them out to the correct scale in the editor? I haven't been able to figure that out...
Glad it was helpful! I'll try to make a quick video well explained on how to de squeeze anamorphic eos m clip easily in Davinci resolve
@@russo-filmmaking PLEASEEE
@@nicklasdiaz check this video ruclips.net/video/3xyd8_KYlm8/видео.html At the beginning of the color grade tutorial I explain how to stretch correctly the anamorphic footages. You only have to set the correct aspect ratio in your project resolution settings and then click on stretch option in your timing and rescaling tab under the video inspector. For example If you filmed in 2.39 aspect ratio in your project setting the horizontal resolution divided into the vertical resolution have to be 2.39 (for example 3840 / 1606 = 2.39)
Thanks youuu!!!!!
Hi Sergio, Great video... I always use Timeline color space as Davinci WG/Intermediate but i always get confused with output color space. Even I am on new Macbook Pro. So Do i need to set the Output color space to Rec-709-A even in "Rendering" section too or i need to change it to Rec.709 Gamma 2.4?
if your display is a Mac, you have to set as output color rec709-A otherwise what you see is not what you'll see on RUclips for example . And under your preference/system/general you have to turn on "use Mac display color profiles for viewers" and "automatically tag rec709 scene as rec709-a
Sergio another amazing video ! Thank you, I have a question for you, I have seen other RUclipsrs export from MLV with Sony Slog-3 to Proress ( they use Mac), when importing to Davinci the clip is in a log profile.
I work with a PC and do the same export MLV using Slog-3 but with CinemaDNG(cannot use Proress for obvious reasons), when importing to Davinci the clip is not is a Log Profile, why? Cannot find and explanation , tried different settings no answer, would appreciate your input in this mstter
I did more research and seems CinemaDNG in Windows does not support Log profiles like Proress does, oh well, at least we have this tutorial in which you explain with details Why and How to use the Log Profiles in between the IN and OUT nodes
@@alrepairs777 yes, cDNG is raw, so no log. With a CST node if you put it in a Davinci Wide Gamma color space, automatically you'll get a log profile before to transform it in rec709.
What settings did you use in MLV app for the export? Another question... When using lut's how do you know that the lut is shown correctly since we don't have a reference image or video?
I export using cDNG lossless Davinci Resolve Naming Scheme, fix focus dots on. It's all. Good Luts are created based on the color space you are using. Each LUT need the correct input and deliver to a display color space or a scene color space. For example there are LUTs that receive as input Davinci Wide Gamut and output in the same color Space DWG. I don't understand exactly what do you mean when you say " how do you know that the lut is shown correctly, since we don't have a reference image or video", good LUTs are based on color science, so we know what they do based on the specifications of the developer.
@@russo-filmmaking thx a lot 👍
Depending on which gamma and color space I choose, I get a different response from highlights and shadow sliders. P3/linear gives me the cleanest results when I use SH/HL sliders. Anything that I miss?
I use rec709/rec709 and following my workflow it has the exact same behavior of P3/linear, using any tool in Davinci Intermediate, including HSL sliders. Absolutely no difference, you can use P3/linear or 709/709 or 709/sRGB. You can notice difference if you make correction from the raw tab because in that case you are working in P3-D60 space and not in Davinci wide Gamma. I don't use the Raw tab because using nodes it's more easy eliminate or disable a node to make comparisons with previous versions of the same clip.
@@russo-filmmaking Yes exactly. The raw tab gives me anxiety. But first time ever I really liked how highlights/shadows controls work in linear space. I will try to emulate that with a linear node maybe.
Thanks Sergio! Could you please help me, i exported graded Rec 709 Gamma 2.4 footage (h264) from DR, imported it in Final Cut and realized that all colors are kind of washed out in Final Cut (quicktime and other players show almost same results as i see in DaVinci). I think it is related to wrong interpretation of 2.4 gamma in Final Cut. How can i transform it in DR in order to get appropriate results in FCP (if possible without second iteration of color grading)?
if you are working on a Mac and you don't have a reference monitor, in your preference system under general you have to set to on "Use Mac display color profiles for wiewers" and "automatically tac rec 709 Scene clips as rec709A" . Then in your project settings select output color space rec709-a, and in all your CST out nodes ( where you transform to rec709) always select as output color space rec 709-A. Then When you export: in the deliver tab, under advanced settings select, data level auto, color space tag rec709 and gamma tag rec709-A.
i just follow your node tree why my video look darker in davinci than mlv app?
It's normal. when you import cDNG raw files from MLV to Davinci, the image is darker. And more contrasty after covering it to rec709. That doesn't affect your footage at all if you expose well you shots. Next week I'll upload a new video on how to expose correctly when you shoot using ML on your canon camera. Stay tuned!!
Just dropped a new video on how to expose in Magic Lantern ruclips.net/video/O0PmwyKAG58/видео.html
Can you explain tone mapping in more detail? It seems like if I follow the method displayed in this video I need to do a lot to bring out the highlights in some other way (they're very muted) and if they're clipped (like the sun) they look all kinds of wrong.
Well clipping light are not recoverable. So we need to avoid clipping the lights. And if you want to bring out the lights there are several easy methods. I normally use the HDR wheels, or curve, or contrast. Other way is to adjust in your CST output node under the tone mapping method the max input and max output nits.
Hello again Sergio, Please give a vlog for Final Cut pro + MLV color management. I always get 4:4:4 ProRes 10 bit in output file. I want to get it in 14bit or minimum 12bit in Final cut Pro. Thanks. You area super genius person. . . . . and please a vlog for MLV App color settings for best output. Thanks
Thanks for your words. Last time I used Final Cut Pro was about five years ago. And I start to use Magic lantern less than a year ago. I'll give a look
@@russo-filmmaking I started ML 1 year ago too. Only FCPX using in 10 year.
Hi Sergio. When I follow these instructions, loading seems fine, but I don't get the same startup screen after loading, the camera interface looks the same, although I can access the crop mode options. Thoughts?
So you are saying that after loading magic lantern crop mood you get into the magic lantern crop mood interface but you can't activate the crop mood option. What crop mood version do you have?
after loading, I can hold down the trash can to get to the interface, but the active shooting overlay doesn't seem to be active, other configuration/navigation seems fine.
thank you
Try to get out the SD card, then switch the camera on (photo mode). You'll see the caption "no card in camera". Be sure to have only that caption on the screen and not the controls screen overlay. I you have other informations rather than "no card in camera" than click the info button until only "no card in camera " appears. After that, which off the camera, put in the sd card, put the camera on video mode and turn the camera on.
Thank you Sergio, everyone...just had to toggle display overlay with INFO button, all good now!
You are using Rec 709 gamma 2.4 being that you are using a Mac . Would it be the same setting using Windows?
I use Rec 709-A because I'm Mac user. If you are on Windows I think you can use Rec 709 Gamma 2.4 or gamma 2.2 depending of the ambient light of your environment
@@russo-filmmaking Mac user here, Apple monitors are better calibrated and easier to trust
Rec709-A is only meant for people with a mac that play the clips in quicktime. There is some weird thing with that player. For everyone else rec709 is the standard and 2.2 or 2.4 is just depending on your monitor.
@@pixellegolas That's for me as I have an Apple ARM M2 Mac and love it, perfect
Hey! Thanks for your wonderful videos! Maybe you can help me with a noob-question i have. I'm recording in 1:3 4.k 12bit. When i export to cinema dng uncompressed in mlv app, i get a squeezed clip when importing it to davinci. What am i doing wrong? is it an export thing or am i wrong with my project settings in davinci? (2k 16:9) Have a good day!
you are not wrong: you only have to de-squeeze the image in Davinci Resolve.
@@russo-filmmaking
Hi, could you please make a video showing how to desqueeze 5dmk3, ML 5.7K (1900x2300) anamorphic footage
exported as cdng without any change from MLV in davinci resolve. Thanks in advance.
@@GetWisdomTV first you have to set the correct aspect ratio in your project setting. So if your resolution is 1900x2300 it means (1900x3= 5700 x2300). The aspect ratio will be 5700/2300 =2.48. So you have to set the resolution in your project settings that give you 2.48:1 aspect ratio. For example 1920x766 or 3840x1548 or 5,700x2300. After that select the clips you want to stretch and under the inspector tab - retime and scaling- scaling - select stretch. And yes probably I'll do a video on this topic soon
@@russo-filmmaking, what about, we record same anamorphic resolution with 16:9 ratio?please reply to my comment with your tutorial video link.Thanks a lot in advance.
@@russo-filmmaking Thanks for all the videos, it´s by far the best content about crop mood. I´m doing what you said in this comment but although i change the aspect ratio in project settings and save, I don´t know why It changes automatically to another aspect ratio. For example I put it in 5208x2214 and when I come back to project settings I see that the aspect ratio is 3840x2160.
Suggestions for Rec2100?
do you want to output to an HDR display?
@@russo-filmmaking doing it currently with my other m-mount cameras, specifically for lossless recording, but I’ve not done it with RAW.
I should clarify, I’ve had HDR live video from my clean HDMI out on other cameras which I’ve used for streaming and recording, but I haven’t done this for a setup that is used for RAW output.
@@ryanleethomas if your are going to work with HDR you only have to set the correct color space. I don't have HDR cameras or HDR display so but I think that the workflow is the same. Setting the correct input color space and gamma and setting the correct output
Why can't we used
Phantom lut directly to s-log profile? Do we really have to color space transform and alll that!!!!!
I understtod the process but why do we even have to go through all that.
The process is really long and kind of annoying tbh.
But you really good at breaking down the workflow making it simple for us to understand thank you. ❤
Yes, if you use a sony camera or you export s-log from MLV, you can use directly the lut on your s-log clip for basic color correction underneath your lut node. For a more advance color grading I prefer to work in a bigger working space that allow me to push my color, advance split tone separation, use of HDR wheels with the right behavior, , better qualification etc... Moreover some time I film using my BMPCC 4K, with the canon eos M and my iPhone 15. I group the clips based on their color space: in my post- clip group I set the same output for the 3 camera, because they came from the same DWG color space. So with this workflow I work in the same working space for the 3 cameras (davinci Intermediate), my output is the same for the 3 cameras, and the only change I do is in the input color space of each group in the pre-group clip. Very fast and easy.This workflow is very common among profesional users.
@@russo-filmmaking thank you so much for taking the time to reply back.
Some things you said , went tright over my head ,too technical for me as a beginners. But really appreciate it👍
I have one more question
Are phantom really that good for that base and starting point, I am really considering buying the luts.
If you can please do some videos on luts as well, it will be realty helpful.
@@russo-filmmaking hey it will also be very cool to see a professional review of eosm footage with and without magic lantern.
To truly understand and appreciate it's capabilities and actually been able to see the gap of difference in both footage.
I could really use an in depth lesson and explanation.
The process and worflow is actually really annoying for me, by Understanding how much of a difference it is , it will really motivate me since it will be worth it.
I can tell it has more color in post when editing and that's all so I would really love an in-depth lesson and fill in the gap.
@@ricewine122 yes, it would be a great idea for a video. I'll try to do that. Not so soon because I have other videos in the pipeline I'm working on, and I'll travel to Italy in a few weeks. Coming back I can work on this idea. Thanks!!🙌
@@russo-filmmaking thank you for considering, enjoy your trip to 🇮🇹
1. Nice :) . Matching "HDR" to rec 709/sdr but save as "HDR" ;) = better positioning / value for youtube ? :D
2. Rec.2020 monitors are already at another high price point for the common man. But ARGB/DCI-P3 10bit (8bit + 2bit frc) are acceptable.
If you were working in rec709/srgb adjusting everything down to "sdr" (but save in hdr format), is it also possible to edit in DCI-P3 and adjust HDR/wide gamut down to DCI-P3 level in "hdr" format? That would be between rec 709< DCI-P3
Sorry, I don't own a DCI-P3 monitor or HDR monitor, I connect my rec709 external monitor directly to my mac via Usb-C, so my output is Rec709, I only export for RUclips content. To give you answers I should do some tests using a display with the color spaces that you are talking about. But the concept is the same, you use a wide working color space between you input CST node and your output CST node and target you output color space and gamma to your display color space
@@russo-filmmaking
I keep my fingers crossed if one day it would be possible to test with DCI-P3. It would be the maximum squeeze of quality in a small budget ;) Thank you and best regards.