![]() Next, in both managed and non-managed workflows, you have a lot of control over the quality of Raw processing (debayering) and of course, you have access to Raw controls to massage a shot to your liking.īut with some Raw Formats like RED or Cinema DNG where you can assign color space and gamma settings for the Raw footage in the Raw panel, you don’t have those controls (grayed out, or not functional) in an RCM workflow because Resolve is automatically handling that processing for you. So, what happens with RAW in an RCM workflow is that Resolve processes the Raw data automatically for you into your timeline/output color space, and it does this with very high precision preserving all of the Raw image data via a computational transform. The Input Color space allows you to assign or reassign a color space to a clip based on what’s ‘right’ for a particular clip(s).Īgain, with Raw footage because of the availability of SDKs by each camera manufacturer, Resolve knows exactly how to handle that data on input. Resolve does a very good job most of the time of guessing the colorimetry details of video files in a non-managed workflow, but with RCM you have the ability to be explicit about how that file should be handled on input by changing the Input Color Space for any clip(s). Just because its ProRes doesn’t mean color space and gamma information is explicit. On the other hand, with a video file, the colorimetry could be anything.įor example, a ProRes file could be in Rec 709, Rec 2020, Log C, or any other color space. ![]() Software developers and apps like Resolve know exactly the colorimetry of an Arri Raw, Red or Sony Raw shot.īecause of this, the input color space assignment is simply not needed and redundant. But the thing is, the colorimetry of a Raw file is a well-known quantity. dng) doesn’t do a thing.īut to understand why that it is we need to address a couple of things:įirst, as you probably know Raw is just data/information – it’s not video per se. ![]() It’s Raw Not Video!Īs the comments detailed in my previous Insight and my own quick test confirmed, assigning an Input Color Space to a Raw file (.r3d. If you missed Juan’s thoughts on RCM check out that First Look Insight. Once again a big thanks to my good pal & friend of MixingLight Juan Salvo for listening to my seemingly non-stop ramblings about RCM and Raw workflows & providing some clarity on some of the finer details of what’s going on behind the scenes in the image processing pipeline. This Insight is to explain those findings in a bit more detail. While I had a pretty good idea of what was going on, I needed to do some testing and some more research. ![]() When I read the comments in the previous post about Raw & RCM I was intrigued. Since I was just getting acquainted with RCM, I didn’t dive into other managed workflows including working with Raw footage. In my previous Insight, I showed the RCM workflow with a ProRes clip where Input Color Space did indeed transform or assign a color space of a clip(s) in the media pool. In my overview Insight On Resolve Color Management, several members commented that when working with Raw footage things weren’t working as they expected – namely that the Input Color Space control didn’t do anything to transform footage. Tutorials / Resolve Color Management & Raw Footage A Potentially Confusing Twist To The RCM Workflow
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