Can you adjust white balance now with pro res raw?

@@net200777 It's camera dependent. With my S1 I've been able to adjust WB since the beginning.

No problem 😉 Thanks for watching and the encouragement!

No problem! Glad I could help. Thanks for watching!

Thanks! I will likely record a Adjustment Layer video soon. Thanks for watching and taking the time to comment 😀

No problem! Thanks for watching and taking the time to comment!

Glad I could help! Thanks for watching!

You’re very welcome! Thanks for taking the time to comment.

@@GlenReed I've been shooting Prores Raw with the c300mkii, and I have been transcoding to prores 444 to grade it in resolve. its a bit of a storage nightmare since the 444 is twice the size the prores raw :P. I might try and use CDNG again just to go native in resolve. I wish apple and Blackmagic would let one another have native support :(, i love pro res raw, its much smaller than CDNG.

Thanks!

No problem! Glad to help 🙂

@@GlenReed exporting ProRes 4444 XQ is exactly what I was trying to find. Switching over to Davinci from Premier and I was able to apply this workflow; and it worked out great, just subbed.

I thought I would share since it was so hard for me to find info. Thanks for the support!! Oh, I also did a video on KZfaq compression that has a lot of export tips to get better results too.

Thanks man! Glad I could help!

No problem 😉 thanks for watching!

Thanks! Davinci Resolve is definitely a VERY powerful color grading system and NLE as a whole. Most people don’t even realize that not only is Fusion very capable (if you take the time to learn) but also have a fully functional DAW with Fairlite. As an unofficial LUMIX ambassador 🤣 I love the image I get from ProRes RAW and my S1, but it is definitely a bummer that Davinci doesn’t support it. Side note: I’ve been a long time viewer of your content and have learned a TON from you. Thanks for what you do and the education you provide. Honored to have you comment on my channel 😊

@@GlenReed thanks Glen, and thanks for being a viewer! How do you like editing in Resolve vs FCP? I really do love editing in Final Cut but not having to go back and forth between apps would be nice. So much to learn in Resolve, for sure!

I totally prefer to edit in Davinci! I made the switch about 1.5yrs ago and didn’t look back until Panasonic updated my S1 with ProRes RAW. Final Cut can be snappier at times but the benefits of Davinci out weight that in my opinion. Many of the plugins, transitions and effects that have to be purchased for Final Cut are built-in or acquirable for free in Davinci. If space and time wasn’t an issue I would rather export the entirety of every clip and edit in Davinci rather than the method laid out in this video. Final Cut is also very good I just think the overall tools in Davinci are a big step up if you want to do more.

kzfaq.info kzfaq.info kzfaq.info These channels are great for learning Davinci Resolve.

@@GlenReed thanks for all that. Good to hear from someone who made the switch. How about titles and graphics? I’ve heard that’s better in FCP however I see a lot of that in Resolve as well

Glad I could help! Yes I would make any of the necessary RAW adjustments prior to export as it should yield you a better result and is much easier even though both files are 12bit. Thanks for watching!

@@GlenReed Thanks!

Thanks! It’s the most efficient way I could think of. Hopefully Davinci Resolve will eventually support ProRes RAW or Final Cut adopt Davinci’s color tools, both are wishful thinking. Thanks for watching 🙂

Hey! I am using a really cool plugin in FCPX by MotionVFX motionvfx.sjv.io/GjRMPE The best part is its FREE! Thanks for watching!

@@GlenReed thanks so much for the reply and the great content! Definitely going to integrate that in to the workflow!

Great set of cameras! I’m a LUMIX guy myself 😃. Yes you can do exactly the same process with Premiere Pro. Simply do your edit in Premiere and then export as ProRes 4444 then import into Davinci. Once in Davinci perform the scene cut detection method in this video and you are now good to begin your color grade. Hope this answers your question. Thanks for watching and the support!

I completely understand. Maybe slow down the playback speed? Thanks for watching.

And just a follow up question... You said to keep the project settings to Rec.709. Aren't you limiting yourself when exporting in a rec.709 color space when it comes to the grading process? I would think that keeping everything in Rec.2020 would be the smart thing to do, right until you export the final video in Resolve, where you would export in Rec.709. It would be great if you could clear things up for me. Thanks!

Great question Daniel! I’ll do my best to give you what I believe to be the right answer. Since your question I have been scouring the internet for something to stand on, but this is a very new process and not much out there. As I understand it log (logarithmic) is a compressed version of what the camera sensor sees in order to fit a high dynamic range into a standard dynamic range file. Since we are working with ProRes RAW and are forced to export in log from FCPX it still holds the compressed data until expanded either manually or with a conversion LUT. This is the case even when exporting as Rec. 709 since Information is compressed greater than the limitations of Rec. 709. As for the V-Log/V-Gamut conversion LUT I’ve always kept it at the default Rec. 709 since this LUT is again from my understanding placing the RAW file into V-Log/V-Gamut. To further test these results I have tried exporting in Rec.2020 and have found no real difference even when grading in a HDR timeline. With that said, if you plan on doing HDR work or simply want to be 100% sure you are not losing any color information it wouldn’t hurt to export in Rec.2020. For me up until I got my new MacBook Pro I have not had a true HDR monitor to even try and could only display Rec.709 anyways. I’m totally not a professional colorist, but I hope this helps answer your question. Thanks for watching 🙂

@@FinalCutArmyTutorials I had the same thoughts about the rec709 export in FCP. Although I don't use FCP as I don't have a Mac, in Premiere PRO I've set the timeline colour space to HLG 2100, which includes rec 2020. Then when exporting I set the same colour space into the export settings, and then maximum bit depth (16bit), to avoid losing dynamic range. My concern is when exporting in rec709 from FCP we could lose dynamic range and gamut in doing so.

@@FinalCutArmyTutorials just find this video and VGamut is definitely covering almost rec2020 colour space. At this point I'm not sure if exporting in rec709 is the way to go when exporting, as it's baking a more limited color mapping/space into it. This is a Panasonic Europe video: kzfaq.info/get/bejne/rZtnnqxyyK-6aJs.html

@@GlenReed regarding your tests with the raw gamut lut, i have tested every combination. slog3, nlog, hlg, vlog, arrilog.... it always requires the lut to look like the vlog conversion with lut. after conversion to rec709 they all look the same, if the raw gamut lut was used in between. if not, they look different. the only time the lut was not needed was in a cinemadng transcoded file with bnd film selected in camera raw tab.

It’s definitely a little confusing with such little info out there. Thanks for watching!

Thanks! If only Davinci would support it natively things would be so much easier. Since this video I purchased the Pocket 6k Pro and Ursa 12k and I have to say the Braw work flow is amazing. I sold my ninja 5 and purchased the BlackMagic view assist 7” which allows me to record Braw from my Lumix S1. Thanks for watching!

@@GlenReed yeah that's why ninja v is so cheap now and the video assist is hard to get and expensive. So it actually makes sense again to get the ninja and batch export from final cut.

Thanks! I appreciate you taking the time to watch and comment 🙂

@@GlenReed My favorite workflow for ProRes RAW has been using Assimilate Scratch. In my opinion it has the best color management options as far as ProRes RAW goes. I’d export ProRes just like you and then grade in Davinci. Premiere Pro on the other hand is absolutely the worst when it comes to exporting ProRes. It introduces lots of banding, makes the footage look as if shot on an 8 bit cam. But my Scratch trial expired… I will give FCP a try. Thanks!

I’ve heard a lot of people mention Assimilate Scratch but I’ve never given it a try. For me so far this is the simplest workflow I could find. Hopefully Davinci will eventually just support it natively so we could avoid all the hassle.

@@GlenReed We can only dream. I’m afraid the native support of ProRes Raw in Davinci is unlikely. Maybe vía some plug-in but even that probably won’t happen.

You’re probably right 😔

Glad I could help. Thanks for watching!

Hey! Usually I just stay in Davinci Resolve since I prefer it over Final Cut Pro. As for export I use many of the settings I explain in my KZfaq compression video. If I get some time though I will try to do a video on sending the clips back to Final Cut. Thanks for watching!

@@GlenReed thank you so much for the reply ! I’ll watch the video and check it out

Glad I could help! Unfortunately from my testing the xml route doesn’t work since it references the original media which is ProRes RAW. Davinci will read the xml but will only import the audio from the RAW files. So far this is the most streamlined option I have found. But if I find an alternative route I will be sure to post a new video. Thanks for watching! Hopefully Davinci will eventually support ProRes RAW natively!

@@GlenReed thank you for the extremely fast response i did talk to a professional film colorist in England and he said another route is we can send the files from final cut to the compressor compress it to Apple 4444 and then into Davinic color grade it than send it back from davinic to final cut as a xml or just do individual clips

No problem 😉. Yeah sending back to Final Cut from Davinci is possible with xml and can be exported in just about any codec you’d want. You can even send it to Premier Pro. I just stay in Davinci Resolve though. Final Cut has gotten a few major updates over the last couple days though including tracking. I might start to do a bit more in Final Cut.

Hmm 🤔 are you sure it’s ProRes RAW? I haven’t got the iPhone 13 yet but it was my understanding that it records in regular ProRes not ProRes RAW. Also are you using a Max or PC?

@@GlenReed ah yes, sorry, you're quite right - ProRes, not ProRes raw. I'm using a Mac.

Honestly I’ve never used Cinema DNG, however from what I understand it gives you most of the raw flexibility. If the file sizes are a bit more manageable than ProRes 4444 it might be worth it. If you give it a try let me know how it works out, I’m sure others would like to know as well. Thanks for watching!

Thanks 😊

Hmm 🤔 you might try copying one clip that you’ve made the adjustments to and then paste the attributes to the others. I haven’t tried this in FCPX, but that is how it’s done in Davinci Resolve. Hope this helps. Thanks for watching!

@@GlenReed that’s what I thought too but did not take. The trick is to select all clips on time line at once. Then make the changes. It will say multiple edits selected.

Awesome! Thanks for sharing!

Great question! Since you have not converted the V-Log clips to Rec. 709 they will still be in V-Log when imported into Davinci Resolve. A quick way to test this is to apply a V-Log to Rec.709 conversion LUT in Davinci and things will look normal. Hope this answers your question. Thanks for watching!

But the clips are not V-Log right? If they are PRO RES RAW then there is no profile, just RAW data. So what happens if you don't convert the RAW to LOG? What is coming out of FCP in that case? Will it assign a gamut and gamma (REC709 by default)

From my understanding you need to convert the RAW profile using the RAW to Log conversion LUT from Panasonic for it to properly map the colors. By default I believe it’s something close but the colors are off just a bit.

Hmm 🤔 it should be available in both the edit and cut pages. What version are you using?

@@GlenReed Hi, found it thanks.

@@hellomaxwell788 Awesome!

From what I understand it’s has to do with the camera manufacturer allowing certain info to be available in ProRes RAW. Sony has been one of the most hesitant when it comes to this. My Panasonic has had the ability since very early on. It may take time but it will happen as consumers put more pressure on the manufactures. BTW I am working on a white balance video now and will be posting it either today or tomorrow 🙂

@@GlenReed I see. Not a huge deal breaker for me. The 10bit log footage has enough flexibility in that regard to make even some substantial WB shifts. I’m curious what your findings are, how it compares to WB at the RAW stage. Probably RAW wins but I doubt that it’s by a huge margin.

From my testing changing the WB on the RAW file is much simpler and works more like in camera, where changing it on the non RAW file requires more tweaking to make it look as good. Could just be me. But I do have to make changes more often since I do a lot of real estate.

ProRes Raw on the FX6 does support white balance.

I appreciate the feedback. Thanks for watching!

Hmmm 🤔 you should be able to watch ProRes on any Apple device and some windows devices with plugins.

@@GlenReed I mean I can't watch it on my windows 10 computer. Tried vlc and all that. What media format do I download to watch my iPhone pro res videos.

This is one of the only ways that I know to view ProRes on windows support.apple.com/kb/dl2033?locale=en_US hope this helps

You might also be able to use this software videoconverter.wondershare.com/play-video.html if it works please let me know, this company has reached out to me to do a review.

Thanks for use great tip! I always enjoy learning how others do things. Thanks for watching!

Definitely something to look into, I’ve never really done anything with DNG. Always used ProRes as a Apple guy since it runs so efficiently.

Hey thanks for the feedback! So far this workflow has worked great for me. I totally understand what you are saying, but the difference is that I’m still exporting the log image which compresses the color space and luminance info to a space less than Rec.709. Once working in Davinci Resolve I will usually work in Davinci Wide Gamut or a standard Rec.709 timeline with a conversion lut at the end of my node tree or timeline tree. I couldn’t find any supporting documentation to reference, but so far even though I do some heavy grading at time I haven’t noticed any shortcomings. But I have been wrong before 😉 thanks for watching!

The first part of the video is Final Cut Pro which is the program that works with ProRes RAW. The second part is Davinci Resolve.

Thank you very much.

No problem! Thanks for watching!

Definitely a lot of work just to get some footage into Davinci. Hopefully they’ll eventually add ProRes RAW support natively. Thanks for watching!