Benjamin de Menil wrote:Am i right that with the BMMCC's 4:2:2 sampling, color becomes compromised with extreme shadow boosting like what Dmitry is doing? In the first example there isn't much color so it's not noticed...
Isn't boosting exposure and lowering gain similar to boosting shadows using the node wheel or curve?
In resolve does each integer increment in exposure correspond to 1 stop?
I do same tests with RAW and with ProRes422 and don't notice dramatic difference in shadow details boost. I don't use ProRes422 only because it baked with factory input color correction so it looks more saturated and greener than RAW. Same time RAW looks dull and pastel without manual color correction, but allow to manipulate with 100% original untouched data.
Boosting Expose for RAW is 100% same as boosting Gain for ProRes in Linear Gamma (see node chain in first post).
Lowering Gain must be done in LOG gamma. Each LOG gamma have different contrast response, BMDfilm and RED Log3G10 works best for this adjustment in my opinion.
To adjust Exposure in ProRes footage same as in RAW add two Color Space Transform nodes, and one more node in the middle.
Set first node input gamma Timeline Gamma in , Linear out
Set another node input gamma Linear in , Timeline Gamma out.
Adjust Gain in the middle node. This produce exact result as Exposure slider in RAW controls.
Boosting exposure and lowering gain is similar to boosting shadows but works in more natural and physically correct way.
Boosting shadows/highlights in Secondaries tab don't designed for so large and uniform adjustments.
Boosting shadows/highlights slider in RAW tab works same as Adobe Camera RAW or many other RAW processing apps. It adds destructive luma masks and ruins your footage source. So be aware of use it.
About 3 additional stops recovered from shadows is the real clean limit for BMMCC camera. Dig deeper and Fixed Pattern Noise became too visible over moving image.
Feel free to underexpose. But you are forced to use temporary noise reduction mixed with Chroma noise reduction, adding 0.5 XY shift to remove Cross Hatching and using OLPF+IR filter to eliminate wired moire/aliasing in RAW. Also use RAW+ColorChecker correction to get neutral starting point without shifted and desaturated colors. This will allow 99.5% pixel perfect quality from BMMCC camera without downsampling.
See this threads for more detailed info about workflow:
https://forum.blackmagicdesign.com/viewtopic.php?f=21&t=65149https://forum.blackmagicdesign.com/viewtopic.php?f=2&t=66184