Either as DCTL on the media page (preferred) or it depends.
if the shot is already in a LOG like i usually put it on the first node, a OFX color transform will act before the primaries in a node (order of operations) therefore your correction will still be in LogC.
if the shot needs some hard transform, i might put it in the second node, (repurposing) so i can color some in the original space and then transform it.
Is working with DCTL's in the media page a similar workflow to setting an IDT and working in YRGB colour managed? If you were replicating your workflow in a YRGB project, would the Log-Rec709/P3 transform go right at the end of the node structure? This would still allow you to work in Log C throughout?
I've yet to try colour managed or using DCTL's so just trying to get my head around it in a standard project. Cheers Walter really great insight into your workflow. The 'hail mary' comment had me in stitches!
Hollywood Colorist Walter (CSI) about his color grading process
in Courses
· Edited by Dave Austin
Is working with DCTL's in the media page a similar workflow to setting an IDT and working in YRGB colour managed? If you were replicating your workflow in a YRGB project, would the Log-Rec709/P3 transform go right at the end of the node structure? This would still allow you to work in Log C throughout?
I've yet to try colour managed or using DCTL's so just trying to get my head around it in a standard project. Cheers Walter really great insight into your workflow. The 'hail mary' comment had me in stitches!