Color Management Workflow in DaVinci Resolve 16

I deal with this in one of two ways:

1.  Create a Group for each unique RAW needed, then use Pre-Clip Group suit.  Can use different LUTs on Group basis, but Pre-Clip RAW parameters don't affect Pre-Clip group and there is not a Pre-Clip option among Project, Clip, Camera Metadata

2.  Use Versions, which do encapsulate RAW parameters.  If you have multiple clips from same camera using same RAW interpretation, this is a winner.

Thank you, Michael.  I will have to study this for a while!

OK, I think I might have a better way to ask the question:

Do the Project Settings -> Camera Raw -> Raw Profile profiles reflect the default interpretation values of DaVinci Resolve for all supported RAW file types?

If so, I would assume you would then be able to customize each one within a project and save them for any/all listed RAW formats or is only one type active at a time?

If you did this upfront, would this take care of automatically applying CTLs to any defined RAW footage?

4 minutes ago, Frank Wylie said:

OK, I think I might have a better way to ask the question:

Do the Project Settings -> Camera Raw -> Raw Profile profiles reflect the default interpretation values of DaVinci Resolve for all supported RAW file types?

If so, I would assume you would then be able to customize each one within a project and save them for any/all listed RAW formats or is only one type active at a time?

If you did this upfront, would this take care of automatically applying CTLs to any defined RAW footage?

 

What you set in the project RAW settings  will work for multiple cameras. So you can set for example ARRI Raw, RED r3ds, and Blackmagic RAW setting and it will work throughout the project. 

By default the Camera metadata setting are off at the bottom of RAW settings, I would make sure these are on, until you need to tweak and individual clip.

Thank you, Sean. 

I don't really work with RAW footage, typically only DPX or TIFF files from scans, so I am trying to wrap my head around the wilderness of camera origination formats.

1 minute ago, Frank Wylie said:

Thank you, Sean. 

I don't really work with RAW footage, typically only DPX or TIFF files from scans, so I am trying to wrap my head around the wilderness of camera origination formats.

No problem, if you want to stick with what the DPs setting were on set you can keep camera metadata. But depending on the needs of your grade, you will most likely want to change the setting to the advised profile for each camera type, to take full advantage of the RAW profile. 

Once you change the RAW settings to Project, set your color management, you will also want to scroll to the bottom and check all the boxes for camera metadata. This will keep all the ISO, Temp, Exposure settings the DP set. These are typically only changes you will want to make clip to clip. Which you can access in the color tab.

Many thanks again, Sean!  I will study this.  You have been a great help!

Lee, what type of workflow do you recommend?

Im often work with Arri & Blackmagic Cameras.

//Jesper

4 hours ago, Jesper Hammarbäck said:

Lee, what type of workflow do you recommend?

Im often work with Arri & Blackmagic Cameras.

//Jesper

ACES offers a simplified workflow. RCM gives you a bit more control by allowing you to apply the camera LUTs. I would test both ACES and RCM and see which one suits your footage the best. There are so many permutations with color management, it is hard to predict which one might give you the best result.

covering resolve wide gamut workflows?