Jamie LeJeune wrote:I should explain why I wrote that as far as I know, BRAW decodes to 16 bit linear.
First, from ARRI and other sources it has been my understanding that 12bit log and 16 bit linear, while not 100% identical, when 12 bit log is transformed to 16 bit linear the result is functionally equivilent to if the source had been 16 bit linear. In other words, 12bit log is a very efficient form of virtually lossless compression when compared with 16 bit linear.
The proxy issue from BRAW source clips in projects set to Resolve Color Management may be a clue to how Resolve handles BRAW clips internally. Whenever a project is set to Resolve Color Management, any proxy files made from BRAW source clips will have the highlights clipped unless they are rendered in 16 bit float EXR (which of course totally defeats the purpose of even making a proxy). The fact that Blackmagic still hasn't fixed this basic issue with BRAW proxies in color managed projects might be because internally Resolve always decodes BRAW clips to 16 bit floating point linear before moving it to the chosen working gamma and gamut, which would also explain why it identifies them as 16 bit.
I should be clear that the clipping of highlights in proxies from BRAW source clips does not happen with proxies made in an unmanaged YRGB project. In that case, the proxies will be created based on the option set in project level for BRAW decode and the proxies files made in that mode will appear correctly. It's only an issue in color managed projects where proxy files from BRAW source media appear to be clipped.
Jamie, I think you're right. I was going to speculate that the behavioral difference between the other raws and braw in color managed mode might boil down to clipping caused by scene referred gamma in braw versus display referenced gamma in the others, i.e. metadata, a distinction that disappears in non color managed mode where everything becomes display referenced. Which if true, would seem to make it incumbent to use non color managed mode for generating proxies. That's as far as I feel comfortable speculating on but behind it are several behavioral observations, you have a raw palette in the color tab with duplicate controls in the raw palette of the project tab. In color managed mode they are always grayed out in the color tab while not necessarily grayed out in the project tab but, the controls in the project tab still don't work in color managed mode even if they are not grayed out, while they can work in the non color managed mode as with the color tab. And as you know, Resolve doesn't need to be told by you that a file clip is braw, it already knows this behind the scene, but not necessarily so with non-native raws not inherently identifiable so it opens the possibility of each type being treated differently when mixed on a timeline, but would not seem to explain why only the rendered proxy clipped if it otherwise looked correct on the timeline viewer. Bottom line here, is my question has been answered, feel free to take over this topic as far as you want to find the answers.