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5Dmkiii Raw In Dubai - Eoshd Lut


Rungunshoot
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My first few shots from my Dubai trip.  Used the EOSHD 5D raw LUT in Resolve and it worked like a charm.  I love how it lifts shadows without sacrificing black levels.

 Can I ask what did you use as DNG settings in Resolve? Rec709 colorspace & Rec709 gamma because you mention 'sacrificing' black levels?

 

Have you compared the EOSHD LUT to just setting 'Linear' in Resolves (v10) gamma project settings for CinemaDNG rather than rec709 gamma.

 

That would give you demosaiced linear space frames and then doing a typical lin2log on those by applying Resolves linear to CineonLOG 3D 'input 3D LUT' in your project settings and then using Resolves log grading tools?

 

Doing a lin2log at input, will lift your shadows, obviously and put your source in a LOG space for grading. You may then find there's no point applying a 'Output LUT' to lift it all, having possibly crushed it at the start by applying rec709 gamma?

 

You may also find that 'Highlight Recovery' option then only needs to be applied to camera raw files that have 'actually' clipped a channel in camera raw rather than on every clip as EOSHD suggests, I guess to counter the intial rec709 curve again.

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 Can I ask what did you use as DNG settings in Resolve? Rec709 colorspace & Rec709 gamma because you mention 'sacrificing' black levels?

 

Have you compared the EOSHD LUT to just setting 'Linear' in Resolves (v10) gamma project settings for CinemaDNG rather than rec709 gamma.

 

That would give you demosaiced linear space frames and then doing a typical lin2log on those by applying Resolves linear to CineonLOG 3D 'input 3D LUT' in your project settings and then using Resolves log grading tools?

 

Doing a lin2log at input, will lift your shadows, obviously and put your source in a LOG space for grading. You may then find there's no point applying a 'Output LUT' to lift it all, having possibly crushed it at the start by applying rec709 gamma?

 

You may also find that 'Highlight Recovery' option then only needs to be applied to camera raw files that have 'actually' clipped a channel in camera raw rather than on every clip as EOSHD suggests, I guess to counter the intial rec709 curve again.

 

That's an interesting workflow.  I'd much rather be in a true log workspace than be going through BMCC Film and an output lut.  I'll try it.  I like grading prores in FCP X just because it's faster on my laptop and allows me to stay in one program rather than round-tripping with DNG's. So if I can output Cineon LOG from Resolve as ProRes 422 HQ, then I can just apply my LUTS and grading in FCP X. 

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Yes Cineon out of Resolve is certainly possible, there's also a flat render option although I haven't used it so can't comment.

Choosing BMD Film gamma would also mean BMD Film color space and for Canon camera raw personally I don't think thats a valid or clever approach because they're to define the BMD cameras color science and response to be able to work in a color managed way including accurate transforms to Rec709 or DCP for example.

Anyway, hope the suggestion helps, would be good to hear your findings.

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