But let’s say we need to adjust the exposure a bit or the color, as we create a more stylized LUT for our director’s monitor on the shoot day. We shot the footage in our custom “SIC 1” Picture Profile for the C100. The Canon C100 shoots in the AVCHD codec, which is a Non-RAW codec. You will see here in our example that we have imported Canon C100 footage from a Shane’s Inner Circle shoot. You also need to be aware of how the files are going to be imported into Resolve. If your workflow is of a non-RAW format like Apple ProRes or something like Canon XF, you’re not going to have as much control. If you’re working in a RAW workflow of RED (REDCODE), Arri (ArriRAW), or Blackmagic (Cinema DNG) for example, you’ll obviously have more control over white- balance, exposure and other areas, not just your color control.
What camera are you shooting with? What kind of a file does it create? Does it have its own codec? These are all questions that you will need answers to before you even begin creating a LUT for an image. A monitor isn’t going to tell you if the picture is right or wrong, because there isn’t a right or wrong, it’s your creative choice. Keep your creativity open, just like I do now and have done in the past, I don’t let my mind get caught up in what my video scopes are telling me or what my false color says, I let those tools get me in the ballpark and I let my creativity take the image where I want it to be. It sounds simple, but you want to make sure you’re covering yourself so that you don’t accidentally over or under expose an image, especially if it wasn’t your intention. You need to think like a colorist on how every simple movement will result in the change in details. If you are in a RAW workflow, you’re going to have more control when you’re in Resolve. Think Like a Colorist, Perform like an Artist A few things to consider when working with RAW footage:Ī very few key areas to know before you dive into working with Resolve to create your LUT is understanding your camera and how the color profile will react within DaVinci Resolve.ġ. Creating a solid foundation for yourself will be the key to your success in delivering your LOOK of your next project.
We went through how I created a LOOK for a film with my emulsion, now we are going to dive into the the emulsion of the Digital Age using RAW footage. In Part 1 of this series I dove into the understanding of why I work with LUTs and the power of how a LUT can mold and shape your image.
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