Blackmagic Forum

Curious if there is any colour accuracy advantage in the following scenario re Resolve Colour Management.

Assuming all clips from a single or same setup cameras, have Resolve set in RCM mode and all all Input, Timeline and Output colour spaces set to the same matched to the originating camera, i.e., an FS7 set to S-Gamut3.Cine/S-Log3 and all RCM In/Timeline/Out set to the same.

Visually it seems to give the same result between YRGB and YRGB Colour Managed, but I thought there might be an advantage when pushing things about harder if Resolve had a scene referred clue about the footage?

FYI, not a colourist, just a cinematographer who has to value add occasionally. I prefer shooting and grading in log.

Hullo there BMD. My curiosity has not been assuaged.

Hello David,

Occasionally we will have the Resolve dev team jump on here but the main premise of the forums is support from other users. If you have a question you wish to be answered directly from us, you can contact your regions support office via email and they will respond.

No worries, cheers.

David Williams wrote:Curious if there is any colour accuracy advantage in the following scenario re Resolve Colour Management.

Assuming all clips from a single or same setup cameras, have Resolve set in RCM mode and all all Input, Timeline and Output colour spaces set to the same matched to the originating camera, i.e., an FS7 set to S-Gamut3.Cine/S-Log3 and all RCM In/Timeline/Out set to the same.

Visually it seems to give the same result between YRGB and YRGB Colour Managed, but I thought there might be an advantage when pushing things about harder if Resolve had a scene referred clue about the footage?

FYI, not a colourist, just a cinematographer who has to value add occasionally. I prefer shooting and grading in log.

i have been using a similar concept in Baselight for a while now, here's is a few ways i've been testing in Resolve v12;

dailies or editing inside Resolve = input to camera Slog3 / working space is you choice / output = 709@ 2.4 gamma, and you should see decent looking rushes straight out of the box, and no LUT's to clip or crush

finishing / gradeing = input to 709 2.4 gamma / working space is your choice / output = 709 or P3 or SRGB as needed, and the images present as flat / log, so easy to work with...

i'm likeing the ArriLog working space in Baselight, but not finding the same fluid responce to the wheels and balls with that selection in Resolve, i'm testing with 2020 and finding that seems to be a way to get to a good place quickly in Resolve

i have only a few hours of testing this in Resolve, but have done a few projects in Baselight4.4 using a similar concept, so the theory and pratical application is familiar to me

the biggest / best thing is dumping LUT's at the dailes stage and maintaining the full range of the data through the pipeline.

next good thing is settng outputs as needed, again no LUT's to translate from 709 to P3 for example, just grade with your working space set to DCI, and output set to 709, when you want to see a show in P3, switch the output and your monitor to P3.. or XYZ, no LUTs to much about with and possiably create errors

last good thing is the "feel" of the tools when using alternate working colorspace's, but that's salt and pepper to taste....