- Posts: 484
- Joined: Wed Feb 19, 2020 7:45 am
- Location: San Francisco Bay Area
- Real Name: Leonardo Levy
I'm not too familiar with proxy workflow but for shooting / editing I'd highly recommend shooting in S Gamut Cine - S Log 3 for all cameras. This will give much more available dynamic range than an already converted signal in camera so if you are slightly under or over exposed theres not much to worry about.
For editing you can use DaVinci Color Managed setup set in SDR and flag all your clips as Sgamutcine/slog3.
(select them all and rightclick -> input colorspace) They'll all be auto converted to your output colorspace set in the project and no need to add LUTs anywhere.
If you prefer to use LUTs however it shouldn't be too taxing at all to have one across your entire edit.
I don't recommend converting your FX9 footage. If you have a decent system Resolve should be pretty fast decoding the mxf files so no need for extra compression. If the A7sIII mp4s are sluggish you could do those though.
Or if you mean creating proxies in prores instead of converting then yes do all and make that prores proxy in 1920x1080