New V5 colorscience :o

Ah, thanks again. I’ll start using Resolve YRGB. I tell ACEScct what to use as far as I can and it does seem to get decent results. But would be better to use Camera RAW beyond just changing the Exposure.

Raw gamma controls won't be available with ACEs or RCM. What I wonder is, how is ACEs interpreting the footage? And is it doing so correctly? (Can't try it, Windows).

If you want to start from scratch, change to DaVinci YRGB in Color Management.

As I understand it, and why I’ve not placed to much faith in the ACES INPUT model ideal, is that most of the camera input transforms are generated from theoretical models by each manufacturer. Or they were at least initially. I know that they STARTED to actually profile cameras a while ago, but I doubt they would have done the 12K yet.

At best it’s a model generated by BMD based on a theoretical model of the sensor, which may or may not be accurate to what i shot with a prototype body using not final boards form another camera.

I think this is why I love the idea of ACES, but very often feel like you have to KNOW this stuff to be able to make informed grading choices...

JB

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Most items adjusted in Camera RAW (no other primary adjustments)

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Some additional colour correction with Log wheels

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I’m interested if anyone else is using those RAW controls much or just using LGG and LUT’s to do all the heavy lifting.

If I started with extended video for gamma then I would probably do custom gamma adjustments in the raw tab.

I don't use LUTS or the Extended Video gamma in practice. I typically start with Davinci YRGB, Blackmagic Color Space and Blackmagic Design Film Gamma then leave RAW controls alone.

I might only reduce or increase exposure in the raw tab or adjust the color temperature if it wasn't initially measured with a color meter.

Then I do contrast and color in the wheels.

I still do some analog darkroom work with color print film and the enlarger has a cyan- yellow-magenta adjustment. I think the controls in Resolve really respond like a traditional analog darkroom but with way more precision. Since it has a red - green wheel then I find myself using it often to take the red push out of the GEN 3-5 color science.

I pasted a quick backyard image looking at greens and removing a bit of red off the top.

Pocket 4K, Zeiss 21mm CP.2 WB 5000 Tint 15 ISO 400

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General Adjustments

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I like your un-toasted grade Howard....

Are you using the RAW controls much or just later in the pipeline ?

JB

The sole adjustment was dropping to ISO 320 in the raw tab, no special sauce from me, that's all camera/CS5.

Looks very nice.

That camera was an early prototype and actually was running on G2 boards instead of the final hardware. As such the colour calibration was a little off, something I’ve come to understand later once I’ve sat for many hours staring at the files. For more neutral looking images I’ve been typically taking about 500K-1000K down on WB and also dialing the tint default down to -5 or -10.

This is something I’ve only done in the last couple of weeks and the Vimeo grade I have up there was from when I left the grades at their default. Now I’m getting better results I think.

I have in the past not adjusted the RAW controls much because I’ve philosophically always felt as a DP that the discipline of shooting to a preset WB (like in the film days) makes for more consistent exposures and looks.

I’m still not doing any WB in the field, but it’s made me reluctant to also adjust those presets in the grade when I’m doing it myself.

However, this being a special case, it’s felt better to make those adjustments now and I’ve grown more adventurous with playing in the RAW tab.

Typically I start with switching to extended video, and then use the parade and vector to look at Whitepoint and try to get that neutral. Almost all of the day stuff I shot is tagged as being 500-1000K to warm in my view and needing a reduction in tint as well.

Once I have those to I use ISO or Exposure (same controls) to Center the exposure more. The midpoint can help here too. I then use contrast to adjust the extremes and bring it back to a more finished look. I also often add a bit of sat, to maybe 1.4 or even 1.5

Basically I try and “pre-grade” the shot in RAW. None of them generally look that great just turning on Extended video, but it seems a pretty good starting point.

I’m interested if anyone else is using those RAW controls much or just using LGG and LUT’s to do all the heavy lifting. I have found using those from more LOG based starting points often stretches the image sin less nice ways. As I understand it, the RAW controls are before the nodes in the Resolve pipeline and so maybe there’s a bit more precision there if you can take the time to set up the image first...

Love to their your thoughts...

JB (LUT free grading so far)

I also use the RAW Controls to do a basic start to my grade. Usually use Extended Video to get a jump, and then adjust the controls based on the image or to my own custom “preferred preset values” all so that I can then use the first node to do Curves and some color wheel adjustments on top for the next base.

This is where I’d love if a BRAW update happens in the future that allows custom BRAW Presets to made and loaded in camera. Maybe even to ability to adjust the BRAW Raw Controls in camera to travel with the file’s sidecar. Hook commented on my suggestion on Facebook once mentioning time as the reason for that suggestion falling to the wayside. Maybe they can revisit it as it sounds like I’m not the only one interested.


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Warm Look

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Color Wheels Adjustments

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Here's my warm (toasted) version of the sample clip with just color wheel adjustments and no raw tab work. There could be too much red in the skin tones here but I still like it, not sure what the temperature was when it was taken but I like the bright golden feel.

Felt in a Robert Altman kinda mood, so I went with that. Couldn't export out of Baselight so this is a screengrab of the image off of my GUI monitor.

There’s more than one way to skin a cat. Nice looks. I wonder what the producer likes?

Managed to kick out an export out of Baselight, which kept crashing:

Managed to kick out an export out of Baselight, which kept crashing:

Base light supports the 12k files ? That’s pretty cool. Or maybe it doens’t and that’s why its crashing !?

Base light supports the 12k files ? That’s pretty cool. Or maybe it doens’t and that’s why its crashing !?

No, the Baselight Student version, which I'm using, doesn't. Nor does it support braw. Exported an HD Pro Res out of Resolve because my laptop cannot handle 12k, and brought that into Baselight to play around with.

exporting a second graded version now...

Raw gamma controls won't be available with ACEs or RCM. What I wonder is, how is ACEs interpreting the footage? And is it doing so correctly? (Can't try it, Windows).

Braw sdk has direct decode to ACES, so Resolve most probably uses that. For other raw formats they decode to some set gamut and do a gamut transform to ACES. There is no interpretation, data, as captured by sensor, is moved directly to aces system. The question about "correctness" starts from how is camera sensor gamut itself put together. If this is adequate, there is no qualitative difference whether some color operation is done before moving to aces or after.

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Just having a play around with the 12K files - there's an absolutely astounding amount of detail in them, and the colours look incredible! Certainly doesn't hurt that they were shot by a talented cinematographer as well, which I'm sure accounts for some of the difference I'm noticing... Quick grade with some presets I created a while ago for the P4K, and a bit of tweaking in the RAW panel.

Regarding the 709 decode portion on the Gen 5, I’ve been looking at the 12k files for a couple days. The low sat colors are punched up too much, particularly the red channel. In the hue vs sat panel grab pure red drop it to .8 and watch the skintones blend.

Good Luck

[CaptainHook]

Regarding the 709 decode portion on the Gen 5, I’ve been looking at the 12k files for a couple days. The low sat colors are punched up too much, particularly the red channel. In the hue vs sat panel grab pure red drop it to .8 and watch the skintones blend.

What gamma are you using with it? If you are using Video or Extended Video it will also be adding extra saturation in the background on top of the 709 Gamut. Neither of them are intended to be used with the 709 gamut option - although you can but you'd need to adjust for that extra saturation.

This is a technical transform to Rec.709 from the sensor response (with some out-of-gamut stuff in Gen5) - but personally I find a true Rec.709 is often over saturated anyway in all areas compared to my taste and most references I use from the last 10 years or so.

What you might be noticing as well is the WB on the old hardware JB used for this shoot was not calibrated for the sensor, so as a start you probably need to drop the WB by 1000K or so and the tint -15 or so (to taste obviously) compared to where it was shot at. Unless you like the image warm (and with a fairly strong push towards magenta) - which could be a totally valid preference. Just pointing it out in case.

The 3x 12K files on this page half way down are with the new hardware and proper wb calibration FYI:
https://www.blackmagicdesign.com/produc ... ckmagicraw

Having some fun pushing these images around.

Having fun pushing these images around.

Good to know the three clips on the Blackmagic raw page have correct calibration and WB. But they’re ugly and almost useless clips to judge skin tones given the source lights. The beauty shots John provided at least give us a chance to see skin in more natural light.

Howard, thanks for the suggestion regarding Hue vs Sat. I didn’t adjust as much as you have suggested and added points so the curve is not the ‘normal’ rolloff ski-slope shape but more of a gentle hill.

If I use Howard’s suggestion of 0.7 and apply Hook’s correction to BMD Film of -1000K -15tint, then Howard’s suggestion may not be needed or at least much less of a change. Without Howard’s suggest the red colour of a clip with Howard’s suggestion only and a clip with Hook’s suggestion only have almost identical red as judged by the colour of the red top the dark-skinned female model is wearing.

[CaptainHook]

But they’re ugly and almost useless clips to judge skin tones given the source lights. The beauty shots John provided at least give us a chance to see skin in more natural light.

Thanks for the feedback Rick. They clearly weren't intended for judging skin tones as there's 3 clips from John for that. They are meant to be more dramatic and stylized with strong contrast to show how the camera does in a completely different situation under non-natural light sources to give people a little bit of variety. Producing images under lockdown/quarantine is difficult for most of the world right now but we did what we could.

But they’re ugly and almost useless clips to judge skin tones given the source lights. The beauty shots John provided at least give us a chance to see skin in more natural light.

Thanks for the feedback Rick. They clearly weren't intended for judging skin tones as there's 3 clips from John for that. They are meant to be more dramatic and stylized with strong contrast to show how the camera does in a completely different situation under non-natural light sources to give people a little bit of variety. Producing images under lockdown/quarantine is difficult for most of the world right now but we did what we could.

I appreciate that as well. Good to judge out of gamut clipping and oversaturation.
Any ETA for the Windows/Linux version of DR 16.3?

[CaptainHook]

Any ETA for the Windows/Linux version of DR 16.3?

Being worked on as hard as we can. Can't give estimate sorry but as soon as we possibly can.

Absolutely agree I am very happy to see ugly stuff too as over saturated lights are a struggle when I’m shouting music videos and some theatrical performances. But that’s never able to judge skin. So I didn’t intend my comment to imply the clips were ugly, just the skin was ugly as would any skin be under those lights.

Pushing it some more...

Any ETA for the Windows/Linux version of DR 16.3?

Being worked on as hard as we can. Can't give estimate sorry but as soon as we possibly can.

Thanks hook.

And just publicly, a cheer for Hook, who's leading the team behind BRAW and Gen 5....

He's done a lot of very late nights lately.

JB

I think CaptainHooks suggestion about Camera raw WB makes a good starting point. Very close to following his suggestion and looks good to my eye with my gamma adjustments and a Log Colour Boost of 5:

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Although I’ve never shot with the ARRI cameras. I can’t imagine things looking any better for this scene… thank you CaptainHook! Personally I might set the tint a bit warmer, such as 0 instead of -10; but I would only do that when it seems appropriate for the scene.

ARRI does improve the shot when the BMD camera can’t match the dynamic range a scene may require such as with my BMPCC4K. Many times the BMPCC4K is going to look fine, but not always of course.

BMD, I just can’t manage $15,694 CAN for a camera, so crossing my fingers that the BMPCC8K will give me results like this. I could even record on Wise 2 TB Portable SSDs to shoot 8K although I hope in-camera 4K will get me to this happy place with my 1 TB media.

Any ETA for the Windows/Linux version of DR 16.3?

Being worked on as hard as we can. Can't give estimate sorry but as soon as we possibly can.

Thanks hook.

And just publicly, a cheer for Hook, who's leading the team behind BRAW and Gen 5....

He's done a lot of very late nights lately.

JB

Yes! Awesome Job! Great job Hook with your clips too. Is there some ability to adjust gamma in camera with BRAW? I noticed hook's clips come with custom adjustments.

I think CaptainHooks suggestion about Camera raw WB makes a good starting point. Very close to following his suggestion and looks good to my eye with my gamma adjustments and a Log Colour Boost of 5

I reduced the wb to 4600 and the tint to -15g and found myself wanting to push red back into it.

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Neutral look.

[CaptainHook]

I reduced the wb to 4600 and the tint to -15g and found myself wanting to push red back into it.

Sorry I probably wasn't clear enough when I said "drop by", those numbers were suggested 'offsets' from the starting point of 5600K +10. So setting tint anywhere from 0 to -10 wouldn't be surprising.

[CaptainHook]

Is there some ability to adjust gamma in camera with BRAW? I noticed hook's clips come with custom adjustments.

In camera you can choose Film, Extended Video, and Video and by default that will be the gamma used when playing back the clip.

In Resolve you can tweak the gamma setttings then update the sidecar and if you then use "Export frame" or trim the clip using Resolve's media management function the new Blackmagic RAW file will have those sidecar adjustments as its new metadata settings (no sidecar). These clips were prepared that way to show you can have your clip travel with an intended look (good for dailies/editing/etc), but of course can always adjust it later.

Is there some ability to adjust gamma in camera with BRAW? I noticed hook's clips come with custom adjustments.

In camera you can choose Film, Extended Video, and Video and by default that will be the gamma used when playing back the clip.

In Resolve you can tweak the gamma setttings then update the sidecar and if you then use "Export frame" or trim the clip using Resolve's media management function the new Blackmagic RAW file will have those sidecar adjustments as its new metadata settings (no sidecar). These clips were prepared that way to show you can have your clip travel with an intended look (good for dailies/editing/etc), but of course can always adjust it later.

This is one of the great features of BRAW. Your intentions / settings can follow the file though post but stay “RAW”

JB

Is there any difference between the colors of V5 and V4? Since a lot of powergrades and luts I own are designed for gen 4 but the limited color clipping of V5 would be nice for shooting in saturated lighting, or is the limited color clipping of V5 just like limiting the max saturation of V4 in CST? Also will there be an option to use the V5 gamut with the V4 gamma for this purpose as well? Since the V5 gamma seems quite a bit flatter then V4, so the luts designed for V4 might not work even if V5 has the same color.

Is there some ability to adjust gamma in camera with BRAW? I noticed hook's clips come with custom adjustments.

In camera you can choose Film, Extended Video, and Video and by default that will be the gamma used when playing back the clip.

In Resolve you can tweak the gamma setttings then update the sidecar and if you then use "Export frame" or trim the clip using Resolve's media management function the new Blackmagic RAW file will have those sidecar adjustments as its new metadata settings (no sidecar). These clips were prepared that way to show you can have your clip travel with an intended look (good for dailies/editing/etc), but of course can always adjust it later.

Thanks, this is great, I haven’t fully adopted BRAW yet, this is one of the key features along with smooth 12K playback on iMacs that is fantastic, my Mac has been just a nice 5K display to this point, who knew there was a computer behind it.

Is there some ability to adjust gamma in camera with BRAW? I noticed hook's clips come with custom adjustments.

In camera you can choose Film, Extended Video, and Video and by default that will be the gamma used when playing back the clip.

In Resolve you can tweak the gamma setttings then update the sidecar and if you then use "Export frame" or trim the clip using Resolve's media management function the new Blackmagic RAW file will have those sidecar adjustments as its new metadata settings (no sidecar). These clips were prepared that way to show you can have your clip travel with an intended look (good for dailies/editing/etc), but of course can always adjust it later.

This is a really awesome feature! And, Hook you’ve done some great work. I’m transforming all the footage I shot this week on the G2 to CS5 in Resolve and plan on editing and grading in the new color science.

Really wish I had the new 12K native sensor and color for this last week’s shoot since I did a lot with extreme colors with my gels. A real club vibe with reds, blues, greens, and some various mixes of pinks, reals, oranges, and purples. And, then a lot haze in a few areas. I think the client is going to love how the footage comes out. And this seemed ripe perfect for the new color science.

Again, great work Hook! Just showing dailies in Resolve with the Color Science 5 transform had the DJ of the club saying he had to book me to do two music videos. He even offered to buy me the 12K in exchange for the work. Tempting offer…


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Paying for the BMP12K on the first two videos is very tempting during the pandemic, but you might ask to have your other expenses covered too. Not sure how you charge and how involved they want the videos to be though. You get to do the math!

Hey Cap, thanks for the reply. Who gets to decide where the colors land if not you? After looking at the footage from a few different angles I noticed that the mysterious Blackmagic Video colorspace is similar to what I cooked up.

Nothing special in the settings. At first look this is amazing, now tear yourself away from her eyes for a moment and stare at her chin, her cheeks become a masquerade of tones almost entirely separate from the mouth. There is an unflattering interaction of three discrete zones on her left side where the cheek, chin, and jaw interesect. Additionally there are deep red shadows in the hairline.

Hyper critical? Yes, but I think that's where we are now. My daughter unsurprisingly liked the first one better, my wife thought it looked "enhanced". Using BM Video rather than the 709 decode I can get 95% of the grade I'm looking for in TextEdit.

Good Luck

Edit: Attachments are working again

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Hyper critical? Yes, but I think that's where we are now. My daughter unsurprisingly liked the first one better, my wife thought it looked "enhanced". Using BM Video rather than the 709 decode I can get 95% of the grade I'm looking for in TextEdit.

I have no access (on Windows) to this footage, but I've been trying to sort out with gen 4 the effects of settings other than [my] habitual choices of BMD Design (log)/BMD Film in the raw tab.

The worst initial choice, hands-down, appears to be rec. 709. BM Extended video is better. But the best remains BMD Design (log)/BMD Film, using either normalizing LUTs on latter nodes or RCM (which defaults to those raw tab settings). Differences can have to do with either the speed at which desired results can be obtained, or the challenge generally of getting an acceptable result at all.

Are there any 12K-specific normalizing LUTs at present, as there are other with other camera models? Have you tried RCM?

On a Mac, with the latest versions of BRAW and Resolve 1.6.3b1, CaptainHook recommended using the Resolve / Colour / Camera raw tab as that’s first in the path of adjustments. You should not use Video or Extended Video. Do as you normally would: Colour Space Blackmagic Design and Gamma Blackmagic Design Film. You can then tweak the Gamma Controls to the way you want the footage to look and that will change the Gamma to Blackmagic Design Custom.

You can make those changes become part of the footage metadata if you wish as CaptainHook described elsewhere. I just make my changes as needed per clip as in grading, one size may not fit all.This is only available in Resolve YRGB, not Colour Managed or ACES at this time.

The worst initial choice, hands-down, appears to be rec. 709. BM Extended video is better. But the best remains BMD Design (log)/BMD Film, using either normalizing LUTs on latter nodes or RCM (which defaults to those raw tab settings). Differences can have to do with either the speed at which desired results can be obtained, or the challenge generally of getting an acceptable result at all.

It's subjective, I find the Extended Video slider recipe the least desirable. I'm primarily interested in the 709 decode because it has the most common gamma/gamut reference. Personally I prefer the color handling of decoding the 12K footage with the G4 colorspace into BM log and using a CST later to get to 709. However, that's not going to yield any critical analysis of the Gen5 science.

Good Luck

viewtopic.php?f=2&t=117829&start=50#p649385

Paying for the BMP12K on the first two videos is very tempting during the pandemic, but you might ask to have your other expenses covered too. Not sure how you charge and how involved they want the videos to be though. You get to do the math!

Haha, yeah I know having bills and expenses paid is important. The club owner paid for my whole trip out in terms of hotel and travel. The DJ wants to piggy back off the next time the club owner has me come out since they’re still renovating the club. This was phase one of marketing. Mainly getting initial materials. Best part is the last bit of the Steadicam will be paid off with extra money to pay bills from this week’s shoot.

I’ll make decisions down the road. It’s an intriguing offer. I’ll definitely wait to see more footage and hear thoughts from others getting experience with the unit. The color science and new sensor design definitely has peaked my interest. And, I’m actually now excited about 12K resolution.


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The worst initial choice, hands-down, appears to be rec. 709. BM Extended video is better. But the best remains BMD Design (log)/BMD Film, using either normalizing LUTs on latter nodes or RCM (which defaults to those raw tab settings).

I found the same thing, as I reported on the other thread about Gen5 color science

And as I said there, Rec2020 is damn good. It's just Rec709 that's a big mess. I understand that will be fixed, so looking forward to that.

I’ll make decisions down the road. It’s an intriguing offer. I’ll definitely wait to see more footage and hear thoughts from others getting experience with the unit. The color science and new sensor design definitely has peaked my interest. And, I’m actually now excited about 12K resolution.

For what it's worth there is a lot of ancillary expenses that go along with the 12K camera. Increased data storage capability, the possibility of faster editing drives, and even your computer. New on-camera capture options including the SSD drive mechanism and the enterprise class SSD drives, New cine PL lenses should you go that route, new cage and ancillary plates, moving up to a Nucleus M vs the nano if needed, different travel cases, and output options, including a new 8K monitor for post. And I am sure, several other things that are specific to the new camera.

For me I projected $68,000 for a dual 6K system, including lights, audio and post. Adding the 12K camera and keeping one 6K as the B camera that number went up to just shy of $90,000. Bear in mind that I am starting from a clean slate and creating everything from scratch. And even with this I am not that comfortable with my lens selection and feel I may have to add more money to get better lenses down the road.

I’ll make decisions down the road. It’s an intriguing offer. I’ll definitely wait to see more footage and hear thoughts from others getting experience with the unit. The color science and new sensor design definitely has peaked my interest. And, I’m actually now excited about 12K resolution.

For what it's worth there is a lot of ancillary expenses that go along with the 12K camera. Increased data storage capability, the possibility of faster editing drives, and even your computer. New on-camera capture options including the SSD drive mechanism and the enterprise class SSD drives, New cine PL lenses should you go that route, new cage and ancillary plates, moving up to a Nucleus M vs the nano if needed, different travel cases, and output options, including a new 8K monitor for post. And I am sure, several other things that are specific to the new camera.

For me I projected $68,000 for a dual 6K system, including lights, audio and post. Adding the 12K camera and keeping one 6K as the B camera that number went up to just shy of $90,000. Bear in mind that I am starting from a clean slate and creating everything from scratch. And even with this I am not that comfortable with my lens selection and feel I may have to add more money to get better lenses down the road.

Well, I am currently looking at getting some PL glass to own for my G2 anyways. The debate right now is between starting with Sigma 18-35 & 50-100 Cine Zooms (I have the EF still versions, but want PL Cine) or SLR Magic APO HyperPrimes. I also have connections to local rental houses where I could rent Cooke S4s and other nice PL glass when the budget is there.

I do already have a Titla Nucleus M that I use on my Steadicam. I'd maybe have to buy one more motor if I wanted to do 3 motors since I only have two. But that's only if I get a zoom lens and need full FIZ control for the AC. I like the Tilta Nucleus M despite some quirks.

I have the ProGrade 256 GB CFast 2.0 cards. Four of those cards. So, I'll have to see if those make the approved list when it comes. I have a feeling they will, and there are the 512 GB versions. As to Hard Drives and Computer that shouldn't be an issue since the demo footage proved that I can handle it on the current systems. And, I do plan on updating the desktop computer in the next year anyways. I just keep buying storage anyways, so what's a bit more?

No need for a new travel case either since I fit my UMP G2 into a large pelican case already, and I'd just swap out the G2 for the 12K in that case and then get another pelican case for the G2... oh wait, I have one already since the UM4.6K is occupying that other one I have.

So, I understand the points you're trying to make... but, the only real investment I'd have to make beyond the camera is the lenses that I'm already planning on doing. I also can see the whole increased storage aspect... and, I think I'm prepared to handle that if I go this route.

As I said, it's an offer that was made. I was simply showing the new camera's demo footage and talking about how awesome it was that Blackmagic created this new sensor. They were more than pleased with what they were seeing from the UMP G2. Time will tell what decision is made.

For what it's worth there is a lot of ancillary expenses that go along with the 12K camera. Increased data storage capability, the possibility of faster editing drives, and even your computer. New on-camera capture options including the SSD drive mechanism and the enterprise class SSD drives, New cine PL lenses should you go that route, new cage and ancillary plates, moving up to a Nucleus M vs the nano if needed, different travel cases, and output options, including a new 8K monitor for post. And I am sure, several other things that are specific to the new camera.

For me I projected $68,000 for a dual 6K system, including lights, audio and post. Adding the 12K camera and keeping one 6K as the B camera that number went up to just shy of $90,000. Bear in mind that I am starting from a clean slate and creating everything from scratch. And even with this I am not that comfortable with my lens selection and feel I may have to add more money to get better lenses down the road.

I'm not a big tech person to make any specific computer recommendations, but I'd recommend getting a few anchor points on the post side right away. If you already have a computer, which one? Mac or Windows? What platform are you comfortable with?

I would pick a grading monitor then a computer and get lots of clips on it right away to see what camera / color is most attractive to you.

I posted the color wheel adjustments along with John Brawley's sample image above because I use DNG raw in Resolve now and I'm looking to maintain that fidelity with BRAW. It's encouraging that the 1st BRAW sample clip with the closeup is 5:1 compression and still looking really solid.

Thanks Ryan. $26,000 of this amount is going to the post side. I also come from a post background so it might be a bit of an overkill, but I like to be prepared. Actually the GTI N5 paint is being applied this week. You are correct, color correction needs the proper environment.

I will be using an LG C8 OLED for a correction monitor, with an 8K client monitor coming early next year, both being corrected using the Teranex Mini SDI 8K HDR. I already have dual LG Ultrafine 5K monitors, and while that are total crap for any type of color correction, they are decent for using with resolve. I am looking at a FSI monitor however I have talked with several colorists who say a properly calibrated LG OLED will cover almost every project I plan on working on. I will also be using a new Apple MacPro, 12 core with dual Radon Pro 5700x GPU's. Not the best one I can get but should handle 12k and below footage with almost zero issues. A thunderbolt 3 8TB SSD raid will handle day to day footage with a 24TB raid will handle longer term projects. And since I will be using the SSD option for the camera, I'll have a BMD multipack 10G for accessing those drives.

A thunderbolt 3 8TB SSD raid will handle day to day footage with a 24TB raid will handle longer term projects.

Sounds like your setup will be great. When I had a system made up I wanted it to be easy to swap drives to increase capacity or to replace a bad drive. If I was getting a new MacPro I would want to know if I could get better speed / capacity with internal drives. I've had a lot of issues with drives failing within external raid arrays and also the raid itself dropping off and crashing Resolve.

Since I had issues with external drives I had a Windows "beast build" made up in 2015-16 that uses (8) 3.5" drives in REFS in RAID 1. It's a little slower, and keeps changing, but using it allows for easy drive changes on my part and I've never lost any images in 5 years since going to a custom pc. The iMac I have is for my editor that sits across the studio and she works off an 8 bay server where we have long term storage.

BRAW is looking pretty good for editing off a server and making changes to the files that would be available to multiple computers.

Adding the 12K camera and keeping one 6K as the B camera that number went up to just shy of $90,000.

The way I've been exploring your camera dilemma is with a single pocket 4K shooting only BRAW. No harm in buying and using a single pocket 6K even if you ultimately decide on 2 of another camera.

... If I was getting a new MacPro I would want to know if I could get better speed / capacity with internal drives. I've had a lot of issues with drives failing within external raid arrays...

Ryan, I had one of my Pegasus RAID drives fail and I replaced it with a 10TB that I now use as my Time Machine backup. The rest of the RAID has been fine. It might help to have large capacity available internally on the Mac Pro. Since I have started to use my 8TB internal SSD for Resolve work, the silent operation feels better than the chatter or accessing spinning hard disks for input and output. Always better performance if spinning hard disks are used for either input or output but preferably not both simultaneously.

How can we monitor with the new V5 on field?

I like new GEN5 curve and plenty of room for grading. Two things that i miss with new Davinci 16.3 Beta is GEN5 transform in CST ofx and lack of BlackMagic default LUT's for new colorscience. Shure I can add 1.22 contrast with pivot to default GEN4 LUT and it will be fine or even use 1.62 contrast without LUT's but it will be nice to include it in further releases.

Thanks for new colorscience it's much better, specially highlights rolloff, than previous GEN4. Of course similar grading results could be reached with previous GEN4 but it required more steps, nodes, conversions to Arri or Cineon log curve...end more.