DPX Camera Raw

On Davinci Resolve 15, is it any way to export still shots in DPX format, and send those files for color grading? I export the DPX file, but when the colorist opens the DPX file in Davinci 15, the Camera RAW settings are greyed out, and they can't change anything. What is the best way to fully manipulate the raw DPX still shot? Something I need to do during the export?

DPX is not camera raw, it's uncompressed. Give us some information about what media you're working with and what you're trying to accomplish, so we can recommend the correct workflow.

DPX is not camera raw, it's uncompressed. Give us some information about what media you're working with and what you're trying to accomplish, so we can recommend the correct workflow.

I'm trying to send a Blackmagic RAW still shot to someone to edit the color of the screenshot. How can I send them a still shot that will allow them to fully interact with the settings? On older versions of Davinci, we would export a DPX screenshot and the colorist would load that DPX file into their machine and color grade. On the older version, they had full control of the raw camera settings and could change the information of the screenshot as if it were the full video clip.

You are probably thinking of sending a single DNG frame. You can do what you want with BRAW as shown in screenshot:

You are probably thinking of sending a single DNG frame. You can do what you want with BRAW as shown in screenshot:

Thank you Jack, this is exactly what I was looking for.

When you export a dpx from gallery there is an additional file that has a .drx that exports with the color information. I guess the program importing it has to be compatible with Davinci Resolve eXchange file format.


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You can have a choice of formats from the Gallery, but Export Frame is saving a single frame in Braw, which will probably not be readable by your partner.

What I can tell the o.p. is that many, many major films are actually color-timed in EXR or DPX format, because it's kind of a "universal" format for live-action shots, transitions, VFX, titles, speed ramps, and other kinds of material. Rather than mix back and forth between (say) R3D and ProRes and BMDRaw and ArriRaw, they just convert every single shot to a common standard like DPX and then use that for the final. There is no loss with a lossless format.

Of course, it's key that these uncompressed DPX shots are done with the correct Raw settings (exposure, color temperature, etc.) to give the colorist enough range to pull the shot in to range for final color. But it's done all the time. There are actually advantage to using a "mezzanine" format like this, since the computer no longer has to decode the Raw while playing it back.