Using the capability to shoot footage in raw gives you the ability to digitally develop your footage like if it were a negative. What is the starting point for beginning to color grade a Raw image in DaVinci Resolve? In this movie, author Patrick Inhofer demonstrates how to begin to color correct Raw footage in DaVinci Resolve.
- Earlier when we talked about what is raw, one of the concepts I talked about was developing your image like a negative. The negative isn't our end point. The negative is the start point for creating a print and that's how I like to think about working with raw so once I've gone ahead and I'm looking at my project settings, one of the first things I want to determine is project wide how do I want to develop this negative? What's the starting poin that I want to use to get the best print I can? And I usually do that by experimenting with a couple of developing settings so let's take a look at those and we're going to start again project wide here in the project settings.
And I'm going to come down to decode using camera metadata. I usually end up bypassing this. Camera metadata means we're going to develop the image to what the camera settings were at the time of recording. And that can be fine, but I usually like to override it and go to project settings. When I come down to project settings, notice that all of these tools open up. That's because now we're going to set project wide how we want our images to start, what's the negative going to look like.
I like demoing raw with RED because it has so many different controls. This is not RED Guru so we're not going to be going through all of these controls, but I will show you the ones that I consider to be the most important and then you can come down here and modify to your taste, but really the most important ones we want to look at are our color signs for RED, our color space and our gamma curve. These will have a huge impact on what our images look like. So color signs I always leave for version 2.
Color space, you've got all of these different color spaces you can develop into. Which one is best is the one that you find easiest to work with. Nowadays, I'm usually running either RED color 4 or RED color 3. You could talk to the cinematographer. They may have a preference as to what color space they think works best for their style of shooting. I'm going to start here with RED color 4. Notice nothing, these images are not updating yet not until we press Save down here.
Next, I want to select my gamma curve and this is huge. This is all about what does our image look like. Right now, the image we're looking at back here, this is looking probably like it was developed into Rec. 709. That looks like what the camera settings were for. What I'm going to do is switch into a more log-style starting point and I'm going to scroll up and select REDlogFilm and hit Save.
And when I hit Save, watch what happens to this image. It gets much flatter. You see on the scopes how the scopes, the black's lifted up, the shadows dropped down. It's giving me a much flatter look here in terms of what this image is doing and it's giving me a really nice starting point. I'm not seeing any clipping going on. The shadows are looking good. This feels very much like a log image. Let's try one other setting just to see how it might differ. So let's go ahead and select REDgamma 4, hit Save and watch both the image and the scopes.
Wow, a lot more contrast here. Look at this. My blacks are a black. My highlights are right there at 100%. A very punchy image, a very defined look and we can do this because it's raw because these settings were not really burned into the data that's on our hard drives. These can be controlled after recording. That's what makes these images so powerful. So I'm going to go ahead and I'm going to go back and set this back to REDlogFilm and I do that because that's what I'm most comfortable with usually on a RED job.
Do I change it from time to time? Yeah, it's possible I'll start with something other than REDlogFilm, but not until I've done some extensive testing before I start the color grade. And why not, let's talk about how I go about deciding how I'm going to develop my digital images.
Once you're familiar with the differences between log, raw, and flat recordings, explore two different methods for color correcting that footage. First, Patrick shows you how to color correct manually, using the traditional tools in DaVinci Resolve. Then, he explains how to use lookup tables (LUT), and discusses LUT strengths and limitations.
- Differentiating between raw and log recordings
- Differentiating between cameras that record flat vs. log
- Setting project-wide raw and LUT preferences
- Applying LUTs to footage
- Exporting LUTs from Resolve
- Color correcting raw footage
- Color correcting log footage
- Using LUTs with log, raw, and flat footage
- Importing, exporting, and managing LUTs in Resolve