• DaVinci Resolve

  2 cameras color configuration for Davinci Resolve 12.5

  Posted by Irene Sinou on September 18, 2016 at 1:46 pm

  Hi there,

  I’ve been consulting a lot Creative Cow forum for many different occasions, and the content of the forum has often been enough to help me to solve problems.
  This time, I have a specific question, I didn’t manage to answer on my own.

  It concerns DaVinci Resolve 12.5 color settings. I’m quite new to this field so please don’t be too tough 😉

  I need to colorize a sequence that has been filmed with 2 cameras: a Canon 5d MkII with Canon 24-70mm 2.8 L II USM lens
  and a Sony PMW-EX1 (because of a low budget)

  The shot has been made roughly for a theater play (low lights) and with no Cinestyle settings for the canon nor specific presets for the Sony…

  I’m trying to figure out how, with this difficult material to treat, I can get the best quality…
  I’ve done the editing with FCP7 in ProRes422.

  In Davinci, for the project settings, I’ve selected:

  * in the master project settings tab: ACES cc version 1.0
  * in the color management tab:
  – ACES Input Transform : Canon 5D
  – ACES Output Transform: Rec. 709

  To homogenize the clips, I’ve been using the 3d Luts Video2Log (as explained here: https://juanmelara.com.au/print-film-emulation-luts-for-download/).

  What do you think about these settings?
  I’m quite worry to apply the ACES Input Transform CANON to all my clips.
  Do you know which Input Transform will fit both Canon and Sony clips?
  Is there a better way to set this project?

  Please tell me if you’ve got any magic tips 🙂

  Thank you so much for your help

  Irene

  David Roth weiss replied 9 years, 10 months ago 3 Members · 3 Replies
• 3 Replies

• 

  Marc Wielage

  September 20, 2016 at 5:15 am

  I’m not convinced any LUTs are needed. I think it’s possible just to color correct the two cameras to match each other… within the limitations of how the material was shot and the qualities of each camera. Matching cameras is a major job of the colorist, and unfortunately it’s not a “push a button and go” operation. There’s a lot of variables involved.
• 

  Irene Sinou

  September 20, 2016 at 7:24 am

  Hi Mark,

  Thank you so much for your answer.

  I’ve been coloring the full sequence now.
  So, from this experience, I feel that the Luts Video2Logs helps somehow to homogenize all the clips before grading them more accurately.

  I still wonder about the color management tab in the project settings.
  Do you know which ACES input transform will fit the best my configuration?
  I’ve been putting Canon 5d, but it modifies a lot the aspect of the sony files… Would you advice an other Input Transform?

  Thank you so much

  Irene

  (working with a MBP Retina 2013 with Yosemite, DaVinci Resolve 12.5 Lite Version, FCP 7)
• 

  David Roth weiss

  September 26, 2016 at 5:02 pm

  Irene, perhaps you should read-up a bit on Aces… it’s not just a post-production tool, it’s a color management standard designed to maintain color all the way through the production process, from image acquisition through post-production finishing. So, if your project was not shot with Aces you can’t simply pick up the process in post.

  And, as Marc suggests, LUTs are not a substitute for proper color correction knowledge and technique – it takes time to learn the craft of the colorist, and if you think you can jump into Resolve without learning it “properly” via training and/or tutorials, you’re cruising for a bruising.

  David Roth Weiss
  Director/Editor/Colorist & Workflow Consultant
  David Weiss Productions
  Los Angeles

  David is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.

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