- Posts: 3
- Joined: Mon Apr 20, 2020 5:51 pm
- Real Name: João Thomaz Londres
User
I'm gonna post this text on reddit. Correct any really essential grammar mistakes
I know this might sound like the noobiest of questions. I just spent a year editing a film I directed on DaVinci Resolve. It was shot on a RED camera, and before I started editing, I created ProRes Proxy files in DaVinci out of the R3D files.
Now I know there are stories of filmmakers/editors who get used to that flat LOG look because they spent so much time editing the footage. This is not the case. Those ProRes Proxy files look beautiful. We shot mostly with Tungsten lights and the Proxy files came out with this soft "one-tone" look (Orange scenes are mostly orange/green scenes mostly green). Whiplash-y /Fincher-y kind of vibe. Even the DP was impressed with the way the Proxies turned out. In his words, "will just have to adjust a bit here and there."
For the final film, that’s the look I want. Or at least, that the look I want to START with before coloring the film. My colorist started working on the film, and the footage he was starting with looked SO different than mine. I later realized he was coloring with ACES color space, while I was viewing the footage with the default DaVinci YRGB.
To double check, I changed my color space to ACES and boom: it looked just like his. Instead of asking him to change his color space, is there a Color Space Transform node I can apply to every shot on his timeline that will give us the DaVinci YRGb look as a starting point?
I'm gonna post this text on reddit. Correct any really essential grammar mistakes
I know this might sound like the noobiest of questions. I just spent a year editing a film I directed on DaVinci Resolve. It was shot on a RED camera, and before I started editing, I created ProRes Proxy files in DaVinci out of the R3D files.
Now I know there are stories of filmmakers/editors who get used to that flat LOG look because they spent so much time editing the footage. This is not the case. Those ProRes Proxy files look beautiful. We shot mostly with Tungsten lights and the Proxy files came out with this soft "one-tone" look (Orange scenes are mostly orange/green scenes mostly green). Whiplash-y /Fincher-y kind of vibe. Even the DP was impressed with the way the Proxies turned out. In his words, "will just have to adjust a bit here and there."
For the final film, that’s the look I want. Or at least, that the look I want to START with before coloring the film. My colorist started working on the film, and the footage he was starting with looked SO different than mine. I later realized he was coloring with ACES color space, while I was viewing the footage with the default DaVinci YRGB.
To double check, I changed my color space to ACES and boom: it looked just like his. Instead of asking him to change his color space, is there a Color Space Transform node I can apply to every shot on his timeline that will give us the DaVinci YRGb look as a starting point?