// Written by Nick Shaw of Antler Post for Convergent Design
This guide describes the post workﬂow for DNGs recorded from the RAW output on the Sony FS5, FS7 and FS700 cameras. Material recorded from the HDMI or SDI outputs does not require special treatment.
DNG RAW ﬁles recorded by the Odyssey can be read in DaVinci Resolve, but there is no option in Resolve to decode them to S-Gamut3.Cine/S-Log3 or S-Gamut/S-Log2 colour spaces used by Sony cameras. This guide will explain how to compensate for this in Resolve, matching the material to the appearance of native S-Log recordings.
This is not a detailed Resolve tutorial. A basic level of knowledge of Resolve is assumed. Many online Resolve tutorials are available, and the manual is extremely comprehensive.
Before you begin, you need to install the LUTs which accompany this guide.
Next, launch Resolve, and click the Settings button (the cog wheel at the bottom right of the screen.) Go to the Color Management tab (referred to as Lookup Tables before Resolve 12) and click the Open LUT Folder button in the middle of the window.
Copy the LUTs into the folder and then back in the Resolve Settings window click Update Lists, and then Save at the bottom right.
The following sections describe processing raw DNG ﬁles to create graded dailies for editorial. The same principles would apply when you match back to the DNG ﬁles for ﬁnishing. You can use Resolve’s ColorTrace functionality to copy your dailies grades to your conformed edit, as a starting point for the ﬁnal grade. A detailed description of that process is beyond the scope of this guide.
While you can apply settings on a per clip basis, if most of the clips in your timeline are Odyssey DNGs, it is easier to choose settings globally for your project. With a new empty Resolve project open, go to the Camera Raw tab of the Settings window. From the drop-down at the top right choose CinemaDNG.
Choose the settings as shown above. Normally White Balance should be set to As Shot, and Color Space should always be set to BMD Film. The LUTs provided with this guide will convert FS7 DNGs to S-Log3 at 2000EI. If your material was all exposed for this you can leave the Exposure value set to 0.00. If it was exposed for 1000EI, set Exposure to -1.00, and for 500EI set it to -2.00. This will enable you to use the standard LC709A LUT from the Odyssey presets. Alternatively you can leave Exposure set to 0.00 and use the same exposure compensated LUT you used in the Odyssey. FS5 and FS700 material will be converted at the shooting EI.
Set the decode quality depending on the capabilities of your computer. A lower setting will give better performance at the expense of resolution. For dailies it may be ﬁne to render at a lower resolution, but if you intend to use your rendered material to ﬁnish from you may want to set Force debayer resolution to highest quality in the Advanced tab of the DELIVER page. Experiment to ﬁnd a combination that works for your purposes.
In the Master Project Settings tab of the Settings window, set the resolution and frame rate for your project. For making transcodes for editorial you would probably choose 1920x1080. If you plan to match back to the DNGs for ﬁnishing, check the reel name options under Conform Options, and test your conform workﬂow in advance.
In the Image Scaling tab you may want to choose Scale full frame with crop under Image Scaling Preset if you want to have the 4K Raw ﬁll the 16x9 frame without slight letter-boxing.
Import your media into Resolve by dragging it into the Media Pool area of the MEDIA page. You may wish to organise your media by sub-folders at this point if you have a lot of it.
You now need to apply the correction LUTs to your media, and adjust the exposure if necessary. You can do this in batches of clips which need the same settings. For the FS5 and FS7, multiple LUTs are provided. Choose the one closest to the white balance you shot at. There is only one FS700 LUT.
In the Media Pool select the group of clips to apply the LUT to, and right-click (or CTRL-click) to bring up the contextual menu.
Select the appropriate correction LUT from under the 3D LUT sub-menu. Do this for all your DNG clips.
If you need to adjust the EI for different clips you can do this in batches as well by selecting Camera Raw Codec Settings from the contextual menu and changing Decode Using to Clip, and adjusting the Exposure value as appropriate. Then click Use Changes at the bottom of the window to apply the changes to all selected clips.
Now that your material is in S-Log you can work with it in the same way as directly recorded S-Log, such as material recorded using the RAW->PRORES option in the Odyssey.
If you have sync sound, you should add it to your clips at this point, as described in the Resolve manual.
To create an assembly of the clips you want to transcode, select them in the media pool, right-click and choose Create Timeline Using Selected Clips. You should now have an assembly timeline of your material which visually matches the camera’s S-Log. You can view this timeline, and modify it if required, on the EDIT page.
Now move onto the COLOR page. Here you can, if you wish, simply apply one LUT, to all your footage, for example the LC709A LUT from the Odyssey presets. To apply this to the entire timeline, in the node window at the top click on the word Clip at the top right, and choose Timeline instead.
Add a node by pressing ALT-S and then right-click the node and choose the LUT, then change the node window back to Clip mode and make any per clip adjustments required. To ﬁne-tune the exposure and white balance, go to the Camera Raw tab (camera icon) of the grading window and select Decode Using: Clip and White Balance: Custom, then ﬁne tune the Exposure, Color Temp and Tint values. Then, because you are grading in a log space, the best way to make broad colour adjustments is to use the Offset colour wheel ﬁrst.
When you are happy with your dailies grade, you can move on to the DELIVER page and render your media. I would advise starting from one of the FCP or Avid presets, and adjusting settings if necessary.
The previous edition of this guide came with a different set of BMF to SL3 LUTs. These LUTs preceded the Odyssey LUT system, and were designed to be used with the LC709A LUT included with Resolve, which is Legal in and Extended out (LE). They are not compatible with the EE preset LUTs from the Odyssey, so the new LUTs should be used instead.
It’s also important to note that the S-Log2 LUT is for the FS700 only and the S-Log3 ones for the FS7. You cannot use the LUTs with media from the other camera, to e.g. create S-Log3 from the FS700.
Created : 2016-08-08 12:53:04, Last Modified : 2016-11-14 20:31:03