Different camera raw settings for the same s clip used twice

What's the trick in having different camera raw settings on clips that use the same source clip?

When I change one, others adjust.

i don't think you can...

[Peter Chamberlain]

Have you tried save with version?

Have you tried save with version?

Just tried that. It works. A bit counter intuitive since I only have one version but that's fine. It works.

Thanks!

good I learned a new thing!

(i rarely use versions...)

Yes, a great feature since I just don't think adjusting Lift, Gamma, Gain on Raw Footage is as good as adjusting ISO, FLUT, Contrast, etc... in the Camera Raw tab.

Looks like adusting the Camera Raw settings to give yourself a good starting point is a must.

Yes, a great feature since I just don't think adjusting Lift, Gamma, Gain on Raw Footage is as good as adjusting ISO, FLUT, Contrast, etc... in the Camera Raw tab.

Actually, Patrick Inhofer just did a demo of this a few weeks ago on MixingLight.com, and he shows there is essentially no difference adjust exposure or gain or blacks or mids in the Camera Raw tab vs. Primaries. The only thing different is that it takes much, much longer to do so in the Camera Raw tab. The resultant pictures are not different.

I personally think adjusting within Camera Raw is overrated for a lot of things. I think the Color Temperature is important, the ISO/Exposure is important, and the Tint is somewhat important, but everything else you can do infinitely faster with Primaries and Secondaries, assuming you have a control surface.

Yes, a great feature since I just don't think adjusting Lift, Gamma, Gain on Raw Footage is as good as adjusting ISO, FLUT, Contrast, etc... in the Camera Raw tab.

...there is essentially no difference adjust exposure or gain or blacks or mids in the Camera Raw tab vs. Primaries.

I couldn't disagree more. My test with 6K RED footage and RED ROCKET X are night and day. So different as a matter of fact that I had to undo all my primaries and redo it with the Camera Raw settings.

I couldn't disagree more. My test with 6K RED footage and RED ROCKET X are night and day. So different as a matter of fact that I had to undo all my primaries and redo it with the Camera Raw settings.

I guess we have different experiences and different tastes.

It is different with RED footage, since there are parameters accessible in the RAW tab that RED is not allowing others (like BM) to do in their software.

So, RED is an exception. BTW, if you save several RAW settings, you can't use "Optimize Media" any more, so get a beefy system for RED footage.

That makes sense. I had a suspicion that the implementation of raw was different depending on the camera.


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Marc, do you know what camera Patrick used for his demo?


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Marc, do you know what camera Patrick used for his demo?

Yes, he used the BMC Pocket camera, both DNG Raw. In fairness to Patrick, he felt you got different results with each approach, but neither was necessarily better or worse. From my perspective, there is no practical difference. I'm always very conscious of the time element for client jobs, so if you have (say) 3000 cuts in a 2-hour feature, you can't take 5 minutes per shot, because that would wind up as a 250-hour job. This would be fine if you had 10 shots in a :30 second commercial and you had 4-5 hours to correct the spot -- and in fact, I know many clients who could easily take 15 minutes or more per shot for TV commercials.

My opinion is just to use the Raw settings to get a decent basic look, and assume that the camera stayed the same for that scene. Copy the raw settings to every shot in that clip, then from there just adjust using curves, primaries, and so on. If there's an extreme exposure issue, then the Raw settings might help you save the image.

People are free to work any way they want. It's more a question of individual style and available time. There's many, many ways to cross the finish line with adjustments like this; the beauty of software like Resolve is there might be 10 different ways to adjust the picture and still wind up with a great image. For me, it's a case of going with whatever is going to make the client happy in the least amount of time.

Great post Marc!


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I guess that brings up another point. If you get access to the RAW data only via the Camera Raw settings on the RED footage, are LUTS also not using the RAW data with RED?

It is different with RED footage, since there are parameters accessible in the RAW tab that RED is not allowing others (like BM) to do in their software.

So, RED is an exception. BTW, if you save several RAW settings, you can't use "Optimize Media" any more, so get a beefy system for RED footage.

Are you sure about this Uli? Where are you getting this info?

Thanks!

The second information came from Alexis himself, if I remember well.

Regarding RED footage:
There's not even a RED input setting in RCM, so you have to set the RAW decoding according to your needs.