Douglas Dutton

@Samuel Holdridge Thank you Sam, that's interesting! @Anton Meleshkevich Hi Anton and thanks for your detailed comment! What you say about YRGB is interesting and if it's the only way to work on the footage in linear fashion then it's a no brainer... I thought that in YRGB changing the timeline color space didn't change anything as when you do, your footage looks the same. Or does it? And basically what I read about it is that if you want to change your export's gamma, you do need to add a CST Timeline node to convert it. Thanks a lot for your input! Douglas

Hi everyone! I've been experimenting with RCM and Davinci Wide Gamut and really enjoy it so far! However I like to do my White Balance adjustment using printer lights to the log space of the image. When I work with Prores, RCM cannot detect which camera the footage has been shot on, so I can balance the footage in the log space. However when I work from the Raw or the native camera file, Davinci will convert the footage to Rec709 2.4 (set as my output color space). And that seems to be how my footage is inputed in Resolve. In RCM workflow, How do you balance you

Hello Walter and thanks a million for your insights! I'd love to know your approach for using a Film Emulation Lut such as the Kodak 2383 provided in Resolve. Do you use those LUTS at full opacity and do you do a Color Space Transform to Cineon Log for instance in order to match the Gamma the Lut is designed for? Overall how do you work with such LUTS? Many thanks!

Thanks a lot for answering! You're a legend!

Thank you so much for your insight Walter! That was very informative!! You said that you never have to key skin if you've done the balance and scene node right. Can you please expand a bit on this? I am learning color grading and I thought when pushing a look far it's often the habit to key skin. Many thanks!