#Davinci resolve lite 11 tutorial full
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#Davinci resolve lite 11 tutorial windows 7
#Davinci resolve lite 11 tutorial tv

All that is done prior to transforming to Rec709 colour space and whatever gamma is chosen. It's totally different to dealing with Rec709 h264, as we all know, where you can't keep going back and revisiting the raw data adjusting highlights, shadows, lift, gain, white balance etc because the camera's done it for us. Rec709 gamma curve would be a limiting factor if encoded into a lossy compression such as the h264 profile Canon's use at 8bit.īut in the case of raw, there is, even in Resolve 11 far more flexibility to revisit the raw data previewing through the Rec709 gamma transform, which is where the final video is heading anyway, whether it's transformed in a controlled way via an output LUT or just injected with contrast & saturation to suit.

#Davinci resolve lite 11 tutorial tv

Rec709 gamut is not an issue, it's generally the gamut the majority will view the final video in, a sRGB monitor of questionable ability, a Rec709 LCD or LED TV or even Rec709 home cinema projector. Closer to your h264 -> M31 workflow previously.Īpparent limitations is a good description, but as you infer it's unfounded for raw. Try Rec709 colour space and gamma in your raw tab, apply your M31 whatever look LUT to your Output and tweak your raw settings mentioned above which will affect the raw data under your M31 LUT until you like what you see. If you start with flat or log source out of the camera then fair enough work log but with raw what is the point?

#Davinci resolve lite 11 tutorial full

To me using BMD colour space and gamma for ML raw -> final output in Resolve is pointless, no point using a logish transform for raw because you have full control over shadows, highlights, lift, contrast all within the raw tab.Įvery intermediate this 3D LUT to log to that 3D LUT when working with raw to me is ***kery. I've not used all these LUTs but if the h264 to whatever LUT looks right to you, like the bottom image then Rec709 for colour space and gamma would seem the choice, that's what your h264 is using Rec709 primaries & Rec709 transfer curve. Quote from: dyfid on August 13, 2014, 07:22:07 PM Yes me too, best way. PS: Magic Lantern RAW videos are 14bit, right? So why does rawcdng just have 12bit or 16bit output? I hope somebody can help me, so I can work with my soo much loved VisionColor Osiris LUTs, like back in the days where I was shooting H.264 Looks like I would have applied the LUT 3 times over the video or something like that.

#Davinci resolve lite 11 tutorial plus

DaVinci Resolve Settings->Lookup Tables: 3D Output Lookup Table = M31 (LOG)Įven with good lighting setup, my video files get too much noise, plus the video files have too much contrast and saturation. DaVinci Resolve Settings->Lookup Tables: 3D Input Lookup Table = BMDFilm to VisionLOG-RAW 3D LUT_64 DaVinci Resolve Camera Raw Master Settings: Decode using: Clip / Color space: BMD Film / Gamme: BMD Film

#Davinci resolve lite 11 tutorial windows 7

dng files into DaVinci Resolve 11 LITE (on Windows 7 64bit) RAW files via rawcdng 1.5.0.BETA6 (CDNG 16bit, nothing else selected) Shooting video on Canon EOS 50D in RAW-Video, not MLV! (using KomputerBay CF 64GB 1050x, resolution:1568x882, 24fps)

I think I do something wrong in my workflow. But since I got my Canon 50D and DaVinci Resolve, I can not work with these LUTs anymore, because they doesn't look good anymore (noisy+too much contrast). I used Osiris LUTs many times with standard H.264 videos, mostly the M31 LUT. I have a problem using the Osiris LUTs by VisionColor.