Pro res film Super Desaturated?

Hi. I recently got my bmcc. I am using prores because I can not handle raw right now. I am shooting in the film (log) format. When I color correct in final cut it is so desaturated that I have to pump the overall saturation up 100% then make another color correction and pump it up 100% again. Id this normal? Has anyone else used log footage in final cut x and can tell me the typical color corrections they have to make?

Thanks,

Mike Boylan

Try applying a 3d lut in resolve
(bmcc to rec 709) than on a other nodes you grade

Can you explain what that means? I have no idea what a lut is. Also I have opened Resolve once and would have no ice about the process. Can you walk me through it a bit?

Thanks,

Mike

Yes.

It's normal to need to add at least 100% in one layer / filter, depending on how much saturation you want.

JB.

When shooting in ProRes, If you shoot with the dynamic range set to video and the display set to video, you will have little color correction to do in post if your white balance is correct. For fast turnaround jobs, i found the color quality to be very acceptable and the dynamic range, while certainly not as good as RAW was much better than I was expecting and far better than a standard "Video" look. Give these lowly "Video" settings a try, they may save time in post and still keep your client satisfied.

(note: The Dynamic Range settings cooks the setting into the recorded image while the display setting only effects how the image appears on the camera screen)

The "Film" log style file needs a lot of post work to get the most out of it but it does hold a lot more colour data than the Video mode.

Nick Shaw is working on a Plug-In for FCPX that will applies a colour correction to the ProRes "Film" log file that is very close to applying the Video LUT in Resolve.

It's really simple and easy to use and gives you a lot of control over the saturation and colour balance.

I'm currently testing the latest beta version.

sure Mike this is it step by step :
1 open the clip (prores film in davinci media pool)
2 select the clip in the color page
3 by default u have a node right click on it and add 3d lut bmcc to 709
4 add serial node and start balncing the clip on that

hope that answer your question
ciaoo

I've been beta testing Nick Shaw's plugin on various types of footage.

Here are 3 screen shots of different clips.
• All shot in ProRes Film
• Only the BMCC Log to Rec.709 plugin applied.
• No other colour corrections were made other than those settings in the plugin.

Studio Tungsten

studio_tungsten.jpg (481.71 KiB) Viewed 5706 times

Lowlight

lowlight.jpg (418.09 KiB) Viewed 5706 times

Indoor Daylight

indoor_daylight.jpg (521.61 KiB) Viewed 5706 times

Click on the images as the forum crops them.

Full blog post coming over the weekend.

Wow this is great! When will this be available?

Nick hopes to have it ready soon.

Will be a great addition for those shooting on the BMCC. I'm getting more colour info out of shot that if I shot them in Video mode. Which is why you would be shooting in Film mode anyway.

It's super quick to apply and adjust too.

Here is your image with my plugin applied at default settings (obviously a screen grab is a less than ideal source):

with_lut.png (556.15 KiB) Viewed 5606 times

Can't wait for the plugin, Nick!

Hey Mike,

From one sorta noob to another, here's how I go about finding contrast with a single node:

1. Saturation is also dependent on contrast, sharpness, exposure.
2. Try to get your exposure right first out of the gate, then balance your image. This can all be done in the primaries panel in Resolve 9, and it's a LOT easier in 9 than it was in 8.
3. Try some liberal saturation after you've balanced, 75 to 85, see how that turns out.

I might get in trouble for this, and I am NOT an expert, but here're stills from a shoot currently going on, Blackmagic with a Zeiss 50/2 @ 2.8, 400ASA rated ProRes:



ORIGINAL IMAGE



NODE 1: Saturation: 85, Primaries/balanced to Parade/Wave





NODE 2: Custom Curve

I could boost the first node to 100.00 and it would be slightly oversaturated.

You can also start with a LUT, but I haven't seen one that I actually like with the ProRes or RAW footage yet, but there is one I'm testing that's originally for an F35 that looks "okay" as a base for Blackmagic ProRes Log.

Again, not a pro here! Just sharing what I've learned.

That's awesome Nick! I plan to shoot mostly in ProRes Film log.. that LUT plugin for FCPX is a great solution!

having such plug ins for those on FCX its great (if you want to be fast and on the budget)
however i strongly raccomend to craft on Davinci Resolve 9 especially with this file in 10-12 bit....
it worth it learing it

having such plug ins for those on FCX its great (if you want to be fast and on the budget)
however i strongly raccomend to craft on Davinci Resolve 9 especially with this file in 10-12 bit....
it worth it learing it

I agree entirely. My plugin is intended to be used for dailies, or for fast turn around jobs. It is in no way intended to be a substitute for a proper grade. Indeed it is based on the same curve used by the Blackmagic Film to Rec.709 3D LUT which ships with Resolve, so my plugin in default settings will get you to essentially the same place you would be in Resolve if you applied that LUT, but did no further grading.

Very Good buddy we all looking forward for it