The fact that each "clip" is actually a folder with hundreds of pictures becomes irrelevant. You see them as regular clips, thumbnails and all.
Resolve instantly recognizes that each of the sub-folders is a sequence of pictures and from then on it treats the folders of pictures as single clips, with audio. In Media select the one folder where you placed all the folders with clips and grab the one folder and move it into the Resolve bin. No LUTs needed these selections in Resolve transform mathematically from RAW to REC709, and the clips, before any color grading, look nice and normal. Then for the timeline and output gamut and gamma I chose REC709, the standard. For the input gamma I chose linear, because that is what RAW is. For the input color space (gamut) I chose REC2020 (because I saw information that the Sigma color gamut is very close to that). Then go to Color Management and select DaVinci Color Managed. Change Project properties in Master Settings to match the resolution (4K) and the frame rate (29.97) just like for any video. This step is the only additional step differing from shooting standard video, except that since slimraw transfers and compresses in one step, it really is not an additional burden. But slimraw is more efficient (the general point is that computer processing is almost always better than in-camera processing, including debayering sensor data). slimraw does what cameras used to do until RED required payments for in-camera lossless compression of true RAW video files. The process of compressing and transferring took 2 minutes. In this case the 16 folders (each folder is a shot) that took up 44 GB on the Samsung SSD drive were reduced to 37%, so I only needed 16.27 GB of storage. Your original files stay on the Samsung SSD of course. slimraw places all the folders that were shot into the disk and folder you designate and losslessly compresses them. I used the program slimraw to compress and transfer the files from the Samsung ssd to my computer disk (one step). It is just for viewing while shooting and getting exposure right.Īfter shooting for a few minutes it was time to create a video. With RAW, picture mode is irrelevant to output - it is not baked in.
Slimraw log full#
I chose no 'picture mode,' which comes closest to a flat profile so that exposure better reflects the full dynamic range of the sensor.
Slimraw log manual#
The shooting experience is just like that of most cameras - I shot using manual mode with auto ISO and auto WB (not that the WB setting matters at all). I used the Canon 24-70 L lens attached to the Sigma L-EF adapter. After, when I want to grade in log for the bolex I just run the corresponding input LUT (rec709 to bolex log from Eddie Barton) in Resolve and voila.I received the camera this afternoon and shot a test video, with a Samsung SSD attached, selecting 4K 30p DNG RAW.
I wouldn't protect the highlights enough if I were to monitor and expose in log. I also think how you are monitoring while you shoot and what mode you are exposing for affects the outcome a lot too. Hitting that highlight recovery in resolve is instant magic to start. I'd rather have those few crucial seconds to concentrate on getting the moment right and figuring out a way to prompt some words or action. I've been having a bit of fun shooting a few BTS EPK projects lately and it's quite freeing not having to worry about white balance as I'm going from crazy warm lighting in the scene to the director brooding in a dim spot beside a window. Throw in 3:1 compressed raw (for BM or later with slimraw) and you can manage your data pretty easily too. Shooting RAW actually makes sense for doc approach.
I just find RAW gives me better highlight information overall, especially on the Ursa Mini, and it is nice to worry about color temp after shooting on a doc, not during it, as you move quickly between locations, and light changes quickly.
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