Alexander Starbuck

How to properly color-manage ProRes and DNxHR in manual color management?

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Hi all,

I started diving a bit deeper into color management only recently and have settled on a manual approach, using pre/post-clip groups and various color space transforms. I avoid automation as much as possible (like project-level color management) to learn as much as I can. Another reason for this approach is that I am using a Fuji camera for which there is no support in ACES.

Today I tested  the camera's low-light abilities by recording a few files internally as a h.265 compressed 10-bit 4:2:0 files, with f-log profile applied. Jut for the fun of it, I recorded the same number of files with exact same settings to my Atomos Ninja V recorder, as DNxHR HQ encoded 8-Bit 4:2:2 no-profile applied files.

Once I got into Davinci, I realised that I do not know how to properly set-up color space/gamma curve for my DNxHR files. :) Does the external device (recorder) receive the camera signal and record it into a codec/container different to the one that the camera saves? This would essentially make the files input settings the same as the Fuji files (Rec.2020 and Gamma F-log). The issue is that by doing so, the image from the Ninja V looks signifficantly more contrasty, especially in the lower ISO ranges. I don't know if this is to be attributed to me choosing the HQ (which is 8-bit) or something else is at play here.

Many thanks for all the replies!

Alex

P.S. If it matters, I hndle my CSTs like so: 

pre-clip group Node 1: Rec2020 F-Log -> Arri LogC, Node 2: Arri LogC -> ACES cct

post-clip group: ACES cct to Rec.709

Edited by Alexander Starbuck
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Thanks for your reply Tom, much appreciated!

So basicaly you agree with me that - I am recording the same signal (Rec2020, Gamma 2.4)? Both in my Fuji camera internally AND when it is outputting the signal into an external recorder, which then captures that signal into a different container and compresses it via a different codec?

Cheers!

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