Sidney have you seen Nikon USA’s recommended technique for editing NRAW-ruclips.net/video/CZrwFDMo01c/видео.htmlsi=zGFyebZmNoMIY4ra…it differs from yours and it loses access to the camera raw that you use with your technique. I am getting confused by the different techniques
I talked with Nikon about it at NAB. Our methods are the same, one just has resolve handle it. The goal was to eliminate the blue clipping. My method and their method don’t suffer from this as bad as automatic color management (the box you can check) does. My method has the implied CST. However if your stress out the blue channel to much in camera it will still clip. You can still use my method. I’ll be pinning this comment
what I would have selected under the option output color space if I wanted to get HDR. Tutorial on HDR workflow with Nikon Z9/ Z8 would be of great help.
@@sidneybakergreen Thank you for this video. If I am editing and color grading on my apple laptop which is by default set to P3 - 1600 Nits, do I set the timeline to that? And will the final video look natural if it is viewed on someone else's Rec 709 monitor? Or do I need to set the output DRT to 709?
Quick note: when you get to the final example, I actually decided to warm up the image in camera raw a bit more, and back off the shadow adjustment in the HDR wheels in Node 5. Sometimes you see things after you walk away from the computer for a second, which isn't possible when creating a tutorial :) Nonetheless, hit me up if you have any questions!
Absolutely exactly what I need! I’ve just jumped on to 100% nikon workflow. Moving away from premiere. After seeing how good the HDR output is and how easy it is to do, I’m all in on Davinci and Nikon!
Hi, i have a few questions about nikon raw editing in DaVinci resolve. I hope you will find time. Thanks. 1. What is the difference between nikon raw sdr and nikon raw log? 2. When setting the paramater of a clip, shot in 12 bit raw sdr, in DaVinci raw panel, 'decode using' is set to clip 'colour space' is set to rec.2020 And when i set the 'gamma' to Nikon N-Log the SDR footage starts looking exactly like a video shot in log. I want to know what is this behavior? Is resolve really interpreting the raw sdr video as raw log video?
@@antonarap I found the over all process and explanation quite insightful. The explanations of why Sydney chose the approach is what I'll apply to my workflow. I learned something new.
@@antonarap Nikon gave resolve their log/gamma profiles and raw debayer data. Resolves color management handles the SDR or HRD conversation. No need for a conversion LUT when using color management.
@@antonarap Yes. For the reasons I explained: it makes your life easier if you're working with non-raw footage. Second, if you don't know then look it up. Simply put: Yes, resolve supports Nikon Raw, and Nikon N-Log. If it didn't you couldn't import the footage. It was announced in the Mar 29, 2022 update. Second, Raw footage doesn't have an assigned color space. It's gamma is Linear, unless ARRI raw on the Alexa 35 which is Log raw, and its color data is a set of binary RGB values. Resolve will debayer this into any output color space. This works for REDCODE Raw and any other raw as well. You're likely confusing color science, which is a sensor calibration factor, with color space and gamma. Color science will always be baked in, and doesn't need a transform to interperate. You'll never be able to select an input color space for raw regardless. Try it yourself if you have some raw footage. Resolve handles it automatically.
dude you are amazingly knowledgeable with Davinci resolve and color grading. Im trying to wrap my head around everything as a beginner but you have this stuff down to the science! A question I have is if you setting up your timeline this way would a color checker be of any use? I recently just bought one but never used one and have been typically shooting in Nikon N-RAW with the Z9. Im no professional but your tutorial on setting up for N-RAW is amazing and will be using it as a starting guide, but still have lots to learn. Thanks!
Nice Information. Sidney , how do you shoot video that also can find on back up data ? I tried with Nikon z9 and set up backup but only on slot has the video.
Possibly. I do have to ask, why Final Cut though? I understand it's a good editor, but as far as color goes, you'd be doing your footage a disservice. Especially with 10bit log / 12 bit raw.
Excellent guide! I noticed that when I change the saturation at the last step, the background begins to get very noisy. It creates an even worse effect when exporting to H265. To overcome this, I set the saturation at the Camera RAW panel at the first step. Seems to work better with the Nikon Z9, at least for me.
Is it just mine or has the color management setup window changed completely? I can't choose Nikon in Input lookup table but can choose Nikon N Log in Output lookup table. I think Davinci changed it since then
very useful. so as for NRAW+SDR and NRAW+NLOG, which one do you suggest while we shooting a sunset or sunrise such high light contrast sence? which one has more dynamic range we can edit in Davinci to get a better quality video? or they are actually same for the result? just when we shoot in NRAW+SDR, we make sure the correct exposure of the sky part in shooting sunrset? when we shoot in NRAW+NLOG,we make sure the correct exposure of the land(dark) part ? sry about my English,hope i make my question clear to you
Help me confirm a bug in the z9 raw. Go shoot raw in SDR in aperture mode. Shoot some normal outdoor scene. Move the camera around between some bright area and dark area. Now bring it into resolve and do you also get wild exposure jumps like i get?!! It's never visible while recording or in the proxy file, but it goes crazy in resolve. Remember, it has to be in SDR and auto iso. Here's what i get ruclips.net/video/WSLM6xV8gy4/видео.html
![BLACK BAG - Official Trailer [HD] - Only in Theaters March 14](http://i.ytimg.com/vi/Du0Xp8WX_7I/mqdefault.jpg)
Sidney have you seen Nikon USA’s recommended technique for editing NRAW-ruclips.net/video/CZrwFDMo01c/видео.htmlsi=zGFyebZmNoMIY4ra…it differs from yours and it loses access to the camera raw that you use with your technique. I am getting confused by the different techniques
I talked with Nikon about it at NAB. Our methods are the same, one just has resolve handle it. The goal was to eliminate the blue clipping. My method and their method don’t suffer from this as bad as automatic color management (the box you can check) does. My method has the implied CST. However if your stress out the blue channel to much in camera it will still clip. You can still use my method. I’ll be pinning this comment
I feel smarter every time I watch one of your posts. Thank you!
Thank you so much! There is a ton of stuff for the FX6, but need more for the Z9.
what I would have selected under the option output color space if I wanted to get HDR. Tutorial on HDR workflow with Nikon Z9/ Z8 would be of great help.
Whatever color space your HDR monitor is calibrated too.
@@sidneybakergreen Thank you for this video. If I am editing and color grading on my apple laptop which is by default set to P3 - 1600 Nits, do I set the timeline to that? And will the final video look natural if it is viewed on someone else's Rec 709 monitor? Or do I need to set the output DRT to 709?
Quick note: when you get to the final example, I actually decided to warm up the image in camera raw a bit more, and back off the shadow adjustment in the HDR wheels in Node 5. Sometimes you see things after you walk away from the computer for a second, which isn't possible when creating a tutorial :) Nonetheless, hit me up if you have any questions!
Thanks a lot man! Really helpful. Any advice on the best export settings to prores and the socials?
Absolutely exactly what I need!
I’ve just jumped on to 100% nikon workflow. Moving away from premiere.
After seeing how good the HDR output is and how easy it is to do, I’m all in on Davinci and Nikon!
Sidney can you do a guide for editing ProRes 422 HQ N-Log footage?
I've been looking for video to work on N-Log footage and finally I landed on correct place.
Hi, i have a few questions about nikon raw editing in DaVinci resolve. I hope you will find time. Thanks.
1. What is the difference between nikon raw sdr and nikon raw log?
2. When setting the paramater of a clip, shot in 12 bit raw sdr, in DaVinci raw panel,
'decode using' is set to clip
'colour space' is set to rec.2020
And when i set the
'gamma' to Nikon N-Log the SDR footage starts looking exactly like a video shot in log.
I want to know what is this behavior? Is resolve really interpreting the raw sdr video as raw log video?
Also make another tutorial for nlog footage h265 or prores processing
I found what I have been looking for. Thank you!
Thanks Sydney! 100% Keep it coming!
Thanks you! I really appricate it 😌
@@antonarap I found the over all process and explanation quite insightful. The explanations of why Sydney chose the approach is what I'll apply to my workflow.
I learned something new.
@@antonarap You got me mad confused. I didn't use a Nikon LUT. I don't use any conversion LUTs 🤣
@@antonarap Nikon gave resolve their log/gamma profiles and raw debayer data. Resolves color management handles the SDR or HRD conversation. No need for a conversion LUT when using color management.
@@antonarap Yes. For the reasons I explained: it makes your life easier if you're working with non-raw footage.
Second, if you don't know then look it up. Simply put: Yes, resolve supports Nikon Raw, and Nikon N-Log. If it didn't you couldn't import the footage. It was announced in the Mar 29, 2022 update.
Second, Raw footage doesn't have an assigned color space. It's gamma is Linear, unless ARRI raw on the Alexa 35 which is Log raw, and its color data is a set of binary RGB values. Resolve will debayer this into any output color space. This works for REDCODE Raw and any other raw as well.
You're likely confusing color science, which is a sensor calibration factor, with color space and gamma. Color science will always be baked in, and doesn't need a transform to interperate.
You'll never be able to select an input color space for raw regardless. Try it yourself if you have some raw footage. Resolve handles it automatically.
dude you are amazingly knowledgeable with Davinci resolve and color grading. Im trying to wrap my head around everything as a beginner but you have this stuff down to the science! A question I have is if you setting up your timeline this way would a color checker be of any use? I recently just bought one but never used one and have been typically shooting in Nikon N-RAW with the Z9. Im no professional but your tutorial on setting up for N-RAW is amazing and will be using it as a starting guide, but still have lots to learn. Thanks!
Nice Information. Sidney , how do you shoot video that also can find on back up data ? I tried with Nikon z9 and set up backup but only on slot has the video.
Can we get how to edit NLOG in Final Cut Pro? I’m gearing up to get either a Z9 or the upcoming Z8.
Possibly. I do have to ask, why Final Cut though? I understand it's a good editor, but as far as color goes, you'd be doing your footage a disservice. Especially with 10bit log / 12 bit raw.
I extend the question for premiere, any way to edit in premiere?
how to open NEF in davinci 17 ??
Finally!!! 🙏🏽🙏🏽🙏🏽🙏🏽🙏🏽
Excellent guide!
I noticed that when I change the saturation at the last step, the background begins to get very noisy. It creates an even worse effect when exporting to H265.
To overcome this, I set the saturation at the Camera RAW panel at the first step. Seems to work better with the Nikon Z9, at least for me.
Try using the gain wheel and be more conservative
Its not allowing me to access the camera raw tab. So I wasn't able to follow completely.
Additionally, why not use the Camera Raw setting in Project Settings for decoding N RAW?
I adjust them on a clip by clip basis. I don't really need to change any global setting in RCM
Is it just mine or has the color management setup window changed completely? I can't choose Nikon in Input lookup table but can choose Nikon N Log in Output lookup table. I think Davinci changed it since then
u r a true master
very useful. so as for NRAW+SDR and NRAW+NLOG, which one do you suggest while we shooting a sunset or sunrise such high light contrast sence?
which one has more dynamic range we can edit in Davinci to get a better quality video?
or they are actually same for the result? just when we shoot in NRAW+SDR, we make sure the correct exposure of the sky part in shooting sunrset? when we shoot in NRAW+NLOG,we make sure the correct exposure of the land(dark) part ?
sry about my English,hope i make my question clear to you
Though I have z8 it's same imo, loved the tutorial,
Yep! I should change the title now that the z8 is out lol
Help me confirm a bug in the z9 raw. Go shoot raw in SDR in aperture mode. Shoot some normal outdoor scene. Move the camera around between some bright area and dark area. Now bring it into resolve and do you also get wild exposure jumps like i get?!! It's never visible while recording or in the proxy file, but it goes crazy in resolve. Remember, it has to be in SDR and auto iso.
Here's what i get ruclips.net/video/WSLM6xV8gy4/видео.html
This process is so time consuming. I welcome AI innovation, as I imagine this could all be achieved with the right prompt in a matter of seconds
wow. great video dude