Qui di seguito alcune risorse online (articoli, tutorial), che illustrano in modo dettagliato i diversi flussi di lavoro (workflow) in DaVinci Resolve per gestire al meglio il materiale girato con cineprese RED:
Oltre agli scenari proposti qui sopra, può essere utile analizzare anche queste due possibilità:
CASE #1 / Color Management: DaVinci YRGB
Timeline color space : Rec.709
Camera RAW: IPP2, Rec.709, Rec.709
Creative LUT: at Input stage or Group Pre-Clip or first node of clip
Output Tone & Highlight Rolloff: As you like using Camera RAW and Clip, RED Default, Metadata, or Project preferences. Unless using Omeno Primers, in which case Camera RAW should select RWG/Log3G10 and the primer does the Output Tone Mapping and Highlight Rolloff.
CASE #2 / Color Management: DaVinci Resolve Color Managed, RCM
Don’t be fooled by elements of the GUI that don’t update until after you’ve saved and re-opened the Project Settings dialog box. Before re-opening the Project Settings, it will look like you can manipulate Color Science, Color Space, and Gamma Curve as you can in Case #1, but those changes will all be ignored once RCM is actually applied through the Save operation.
At this point, setting Input Color Space to RWG/Log3G10 will read the image file in a way that’s friendly to LUTs expecting to operate on RWG/Log3G10, such as philmColor v2 and/or Omeno Primers.
philmColor v2 LUTs will preserve RWG/Log3G10, but many (most?) color tools in Resolve are designed to work on Rec.709 data, so it’s a good idea to do a Color Space conversion as the Input hits the Timeline.
Omeno Primers do that conversion in a single step.
philmColor v2 LUTs can be applied to Rec.709 pixels (or any other kind of Pixels), however such application will have significantly different and significantly reduced effect compared to applying to RWG/Log3G10 pixels and then converting those to Rec.709. Be advised.
If you choose to keep the timeline in Log space – not recommended!!! (because you really like very sloppy qualifiers and the very glitchy behavior of small changes in Log space leading to very large changes in Gamma space), then of course you’ll need to change the Output to something suitable–Gamma space if you plan to display, Linear if you are feeding such a pipeline, or Log if your intermediate isn’t linear.
If you’ve already set your Timeline to a display gamma space, then you can keep that designation in your output or use “Bypass”. But not all is as easy as it seems.
If Timeline is Rec.709 Gamma 2.4 and Output is Bypass or Rec.709 Gamma 2.4, you can select RED IPP2 Gamut Mapping and it works as expected, with Output Tone Map and Highlight Roll Off selections working as expected.
If Timeline is RWG/Log3G10 and Output is Rec.709 Gamma 2.4, you can select RED IPP2 Gamut Mapping and it works as expected, with Output Tone Map and Highlight Roll Off selections working as expected.
If Timeline is RWG/Log3G10 and Output is Bypass, you can select RED IPP2 Gamut Mapping BUT IT DOES NOT WORK AS PRESENTED: Output Tone Map and Highlight Roll Off selections DO NOTHING.
There are other selections one can make for Input, Timeline, and Output Color Spaces that will cause the RED IPP2 Gamut Mapping option to disappear from the Timeline to Output Gamut Mapping option list. But it is annoying that the RED IPP2 Gamut Mapping option appears in cases where it is absolutely not honored.