I just shot an experimental clip to test it, using the best quality settings (1080p). My GH2 came loaded (I got it used) with some sort of hot rodded firmware that supposedly makes the video a lot smoother. If you decide you instead want to apply LUTs designed for BMD Film v4 (like Kholi's excellent Comet Color set for v4), just change the setting in the raw tab to film mode and you can apply those LUTs.I'm a regular on some other forums on the site and though I've experimented with video a bit a very long time ago, I've never actually used my GH2 (that I've had for 5 or so years. just kick out sidecar files for each clip and those will be how the clip is read. And, if you want to adjust the exposure, saturation, etc. It's a really fast way to work, it makes on set monitoring dead simple, and it will allow you the flexibility to add things like standard REC709 "look" LUTs or FilmConvert OFX to your grades if you wish.įrom a workflow perspective, the beautiful thing about recording BRAW set to "extended video" is that if you have to hand your BRAW files off to another producer, editor or a colorist, the image that you saw on your monitor is exactly what they'll see through the whole workflow in Resolve or in any other app that supports BRAW (like EditReady, for example). Then, in the raw tab you can make fine adjustments to temp, tint, exposure and, if needed, tweak the shadow or highlight rolloff, etc. Then, in Resolve just work in standard DaVinci YRGB and the camera metadata will be applied with the clips automatically set to "extended video" by default so they'll look exactly as you saw them on set. Since they aren't designed for using REC709 LUTs, they are going to be more trouble than they are worth if those LUTs are often used in your grades.įor normal REC709 deliverables, if you're recording BRAW, the easiest thing to do is set it to "extended video" in camera (but do make sure you're recording BRAW, not ProRes) and that will be recorded as metadata and also be the image you see when monitoring (so make sure to have any LUTs applied to your LCD, viewfinder, and SDI out turned off). Samroden wrote:All this is to say, if I'm not worried about matching cameras, and just want to take my log footage, get it correctly to rec709 and grade from there, how would you suggest I approach that? Thank you much in advance! Unless you need to deliver both SDR and HDR deliverables, ACES and RCM aren't necessary. I'm totally into all the Juan Melara CST stuff but honestly per the above conversation, I fear it's a little more complex that I really need - also I've read on BMCuser various concerns around using the camera's native ISO & 6k color temperature in order to have a proper transform.Īll this is to say, if I'm not worried about matching cameras, and just want to take my log footage, get it correctly to rec709 and grade from there, how would you suggest I approach that? Thank you much in advance! RCM's luminance mapping has been hit or miss on giving me a nice image. inability to use LUTs easily, struggles with using keying, etc.) I'm a total noob at ACES and while I was impressed by the way it dealt with dynamic range and saturation, I fear it has too many things different from normal YRGB for my normal use (i.e. I ask because I've played with all and have run into various concerns with each. What are the best and/or simplest ways for me to take Ursa Pro log footage and transform correctly to rec709?ĪCES, RCM, OFX CST, lut, any other approaches? One obnoxiously basic follow up (which I've had a hard time tracking down a concrete answer to):
0 Comments
Leave a Reply. |