Dermot Shane wrote:if working in scene refered like some RCM settings or ACES just about everything that can be ajusted in raw tab is still avb, soft/sharp/scaleing and some camera specfic stuff will be locked in, but that's about it
in display refered workflow like YRGB you have to also lock in the gamma / gammut / exposure / white ballance when you render the transcodes, but if hte cam orig is nearby then this should not be a huge concern
Thanks Dermot Shane for these useful advices!
Anyway, I think (I hope...) I solved it.
First of all, the fringe in my case is mainly lateral chromatic aberration caused probably by various things: anti-aliasing filter in camera, lens (Tamron 24-70), filter (Hoya UV), etc. and it's visible in highlights/contrast edges.
ACR manual Defringe is fanstastic and does perfectly the job, so one workflow could be DNG-to-TIFF (ACR with manual Defringe), then grading TIFFs in Davinci (but losing RAW tab).
At this point the question: what is better, losing RAW tab for working with perfect TIFFs, or trying to solve the fringe directly in Davinci and enjoy the flexibility of Raw tab?
As I wrote, Nick Driftwood method works but in my opinion is not clean actually.
So I tried to find another node-only-based solution that's the following:
1. Splitter/Combiner: Green with just little luma denoise (3 in my case), Red and Blue a bit more (5 and 6);
2. A node after the combiner has saturation 0 and a very little sharpness (0.48), then it ends to a Layer Mixer;
3. Restarting from the source, a node isolates the fringe color (Qualifier) and desaturates it (in comb with Hue);
4. After this, another node with Gain 0.01 and a good point of blur (0.6) that ends to the Layer Mixer (2nd input);
5. After the Layer Mixer one last node with denoise (in my case Luma 2 and Chroma 10).
Basically this method mainly adds Qualifier (and noise reduction) to the old Nick D. method.
The result seems to be very near to the ACR quality (and I can still use Raw tab!)
I hope this could help someone else with my issue