Default. Not managed on a project level. I use film emulation so I tweak clips differently. And I usually have the film emulation at the end of the pipeline. I still haven't learned enough about color management to be comfortable with grading clips from different cameras with different emulations. Not yet
I might be wrong but I'm seeing unnecessary workflow. Ive preserved dynamic range with my EOS-M by simply using MLV to convert to CinemaDNG and then import into Davinci Resolve. Node 1 for basic corrections, Node 2 - Color Space Transform and then Node 3 - LUT. Easy process. MLV does the job of Camera Raw, at least from my understanding so i see no use for it. Camera Raw tab (Resolve Studio) is only used for my BMPCC OG and BMPCC 4K footage.
This is just my way of working with it. I did mention the main reason which was the pink highlights. I cannot have that at all. When I don't change the colour space to either linear or BlackMagic, the highlights turn pink. Which is absolutely unacceptable to me The 2nd reason is colour. I prefer working in a log colourspace
This is a bad way to work. You are taking linear data converting it into a camera log space to do your grade work then converting it back to REC 709. Just work in a liner intermediate space like ACES or resolve intermediate then transform to rec709.
AFAIK both methods are non destructive. I'm curious as to why you suggest using the method you mentioned. For me, the gamma selected by resolve by default is an old one (not supported by plugins) and I prefer to convert to a newer one logc4 or Davinci intermediate.
Yep. Sorry about that. Colour spaces and gamuts are not very easy to understand in the beginning. If you wanna try, maybe look into understanding how they work, I usually find that understanding the underlying reason helps me when I'm grading
@@8lec_R what else are you looking for, if going from mlv (alexa log c-709) to edit (color correction-grade) in premiere pro makes my client satisfied. it's such a waste of time.
@@rizkiabadi8441 i specifically mentioned why I'm doing what I'm doing in the video. You don't have to like it. It's not my fault if you don't understand the reasons. You don't have to follow it anyways so why bother...
![My Magic Lantern RAW Video Workflow // Canon EOS M [2020]](http://i.ytimg.com/vi/hb3iE5djAt0/mqdefault.jpg)
![GEEK TIMË [OFFICIAL AUDIO]](http://i.ytimg.com/vi/ry-6RvkH880/mqdefault.jpg)
Awesome. What were your your color management settings in Resolve?
Default. Not managed on a project level. I use film emulation so I tweak clips differently. And I usually have the film emulation at the end of the pipeline. I still haven't learned enough about color management to be comfortable with grading clips from different cameras with different emulations. Not yet
Great so to be clear, you are putting film emulation just before the final CTS node correct?@@8lec_R
I might actually make this video again to make it more understandable. This video is definitely not the best at making it's point
YEEEESSS BABYYYYY DAS WHUT I NEEDED! thank you ✨
helpful
I might be wrong but I'm seeing unnecessary workflow. Ive preserved dynamic range with my EOS-M by simply using MLV to convert to CinemaDNG and then import into Davinci Resolve. Node 1 for basic corrections, Node 2 - Color Space Transform and then Node 3 - LUT. Easy process. MLV does the job of Camera Raw, at least from my understanding so i see no use for it. Camera Raw tab (Resolve Studio) is only used for my BMPCC OG and BMPCC 4K footage.
This is just my way of working with it.
I did mention the main reason which was the pink highlights. I cannot have that at all. When I don't change the colour space to either linear or BlackMagic, the highlights turn pink. Which is absolutely unacceptable to me
The 2nd reason is colour. I prefer working in a log colourspace
Recorded this and edited this 2 times. Imma go to sleep
This is a bad way to work. You are taking linear data converting it into a camera log space to do your grade work then converting it back to REC 709. Just work in a liner intermediate space like ACES or resolve intermediate then transform to rec709.
AFAIK both methods are non destructive. I'm curious as to why you suggest using the method you mentioned.
For me, the gamma selected by resolve by default is an old one (not supported by plugins) and I prefer to convert to a newer one logc4 or Davinci intermediate.
No simple
Yep. Sorry about that. Colour spaces and gamuts are not very easy to understand in the beginning.
If you wanna try, maybe look into understanding how they work, I usually find that understanding the underlying reason helps me when I'm grading
@@8lec_R what else are you looking for, if going from mlv (alexa log c-709) to edit (color correction-grade) in premiere pro makes my client satisfied. it's such a waste of time.
@@rizkiabadi8441 i specifically mentioned why I'm doing what I'm doing in the video. You don't have to like it.
It's not my fault if you don't understand the reasons. You don't have to follow it anyways so why bother...