@Jacob,
One of the interesting things I have noticed is that applying the Canon provided CinemaGamut_CanonLog2-to-BT709_BT709_65_FN_Ver.1.1 LUT (and nothing else) to the Cinema Raw Light footage in Resolve seems to show the footage 3 stops underexposed compared with the default display of the Canon Cinema Raw Development app (when working in 709 in both apps).
I took your test footage and attempted to bring it back to reality using two methods:
Method A:Node 1: Color Match {src gamma: Canon Log 2; tgt gamma: Canon Log 2; tgt color: Rec.2020; temp: 6500}
Node 2: Auto white balance to the large white chip.
Node 3: Adjust {lift: -0.02; gamma: 0.07; gain: 1.03; shadow: 0.13; highlight: -0.08} + LUT {BT2020_CanonLog2-to-BT709_BT709_65_FN_Ver.1.1}
- Using Color Match
- c200-with-chart.jpg (966.9 KiB) Viewed 58568 times
Method B:Node 1: Auto white balance to the large white chip.
Node 2: Adjust {lift: -0.02; gamma: 0.07; gain: 1.03; shadow: 0.13; highlight: -0.08} + LUT {CinemaGamut_CanonLog2-to-BT709_BT709_65_FN_Ver.1.1}
- Without Using Color Match
- c200-without-chart.jpg (976.38 KiB) Viewed 58568 times
Anomaly:When following Method B (not using Color Match), I found it very hard using just the color temperature control to keep the blue out of the shadows while keeping the highlights from yellowing. Of course, the color of the shadows and highlights can be individually-adjusted on their respective wheels, but it did feel just a tad strange to me.
If you compare the image below to the image from Canon's software or to the image from Method A, you will notice that the shadows are more blue (cooler) yet the shadows are more yellow (warmer):
- Without Using Color Match, but warmer
- c200-without-chart-2.jpg (924.41 KiB) Viewed 58568 times
This difference in tint between the highlight and shadows does not make sense to me because all of the methods above are only adjusting the temperature for the entire tonal range and your original distortion (in camera low temperature) was, of course, modifying the entire tonal range. (I am viewing from a calibrated Eizo display in Rec.709 mode.)
At the end of the day, you can still get some nice images out of Resolve, but it takes a good deal extra work cleaning up the details like shadow/highlight temperature imbalances as described above. My guess is that Resolve's implementation of CinemaGamut is at least related to the problem – or perhaps the debayer before temperature adjustment is the issue.
I very much hope the Resolve team sees fit to add the Camera Raw controls for Cinema Raw Light footage – not only will it greatly improve the workflow, but it would make precise grading possible by explicitly describing gamma & gamut while gaining all of the benefits of adjustments being made before debayer.
Resolve Studio × Micro Panel, MacBook Pro 16" × eGPU (Vega Frontier Edition), Canon C200, Pocket Cinema Camera 4K × Metabones, Pocket Cinema Camera × Metabones, Eizo CG248-4K