Emily Haine

Just amazing!

Fantastic post and can't wait to check out Josh's Baselight training.

Thanks for sharing your knowledge Mark!

Thanks for sharing your knowledge Mark!

Hi Willian. I do understand you are talking about a color managed workflow, that's why my example was in ACES. Your workflow still makes no sense, if you want to match cameras you should let ACES/RCM handle the transforms and if you want to override their judgement, that can be done on clip level and not node level. When using ACES in Ravengrade you simply set working color space inside of Ravengrade to ACEScct and the rest will be handled by how you set up the color management inside of Resolve.

Not sure if I understand, but if you have different formats in ACES you should set the ACES Input transform to "No Input Transform". Then, if you want to challenge how Resolve interprets the clips on your timeline, you could change input on clip level. Why would you want to change gamma on node level?

Thanks for this amazing show, it's a gold mine for every colorist.

I asked, they are aware of it but have not updated.

I asked, they are aware of it but have not updated.

Love your brilliant color work at MPC, Vincent. Looking forward to listen to your podcast.

Seriously, I didn't know this, but I have noticed that some footage looks different with the LUT built into the Alexa footage and the one I apply manually.

Seriously, I didn't know this, but I have noticed that some footage looks different with the LUT built into the Alexa footage and the one I apply manually.

Any comment on this @Bryan Gordon?

It's actually read as 6-8000 kilobits per second which is correct.

I'm sorry to say you are wrong. The last node in the chain (the log2rec709 transform) needs to be a part of the LUT generation in DaVinci Resolve and any transform happening inside of your monitor must be disabled.