I have to make major adjustments to get a decent contrast range and need to add saturation as well. I expected that my LUT should get me much closer. Just looks like a mismatch.Ģ - When I try the same LUT's in Resolve ( the new 14) I have the same exposure issues. The adjusted LUT's for lower EI's ( higher exposures) look quite dark, but now the Luts are too punchy and contrasty and i need to tone them down the opposite way. I seem to remember that you need to make different LUT's for Resolve and Lumetri but can't remember why. In the LUTCalc version I was using (3.1) the Resolve and Lumetri settings looked the same. Do they need to be transcoded to roses or something else first or am I missing a setting? Another Resolve question - what do the "Log color wheels do vs the standard ones?ģ - This is a side issue but when I imported directly from XAVC-I MXF camera files into Resolve i didn't get any audio. I know I will have other questions, but this is a good start. I'd highly recommend renting Doug Jensen's piece on grading with Davinci Resolve: Please don't be too harsh on me for waiting 2 years with this camera to work out the basics. I did, and it was very very useful with regard to answering your questions.Īlso, if you can afford it on the right upcoming project, I would highly recommend finding a good colorist, paying him/her for your time, and going the extra mile with your footage. I just did that after attempting to grade my own footage and boy was I wowwed by the work this gentleman did for me. The guy I worked with has been doing color work for decades and he just made my footage look beautiful! He pulled ever bit of wonderfulness that he could out of it and I'm so grateful for his skills and talents.Ī final note.I've noticed that different software handles the way footage looks differently. For example, I do all of my editing in Avid Media Composer, but have done some grading in Resolve on my own. I've noticed that Resolve does a much better job of displaying color and contrast range even on my computer monitors than the Avid does. And.this is when the same video is displayed on the same Dell Ultrasharp monitors from Resolve vs. So.something is going on under the hood that I haven't taken the time to figure out yet. So.when you say that it looks different from one tool to the next, it makes me wonder what might be going on underneath the hood.Shooting in S-Log is one of the most common traits of achieving cinematic look these days and a great way to optimise the imaging capabilities and capture full dynamic range of the latest generation camera sensors. More and more camera manufacturers are implementing this feature in their entry-level models which makes this option more accessible not only to seasoned professionals and high-end productions but also for independent filmmakers and smaller production facilities. LUTs are an important ingredient in the Log workflow as they essentially interpret your Log camera signal in a certain way thus outputting the given colour information to your monitor without affecting the recorded footage. LUTs also serve as a great reference point when it comes to colour correcting and colour grading of your footage later in post.
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