To make it easier for me to keep consistent, milky / filmic blacks, I’ve been in the habit of dialing in a soft or hard clip (in resolves curve tab - somewhere in the 50 to 100 IRE range). What’s the best workflow to get these clips to play nicely in an ACES timeline? 99% of the film is on C300/Pocket, but there are a number of these mixed media clips. The film incorporates mixed media (footage shot on phones, random home video converted into I don’t know what color space). What I’m wondering: would using this CST workflow and then doing a contrast and saturation adjustment be my best bet? Is there another route to get the pocket 4k footage to convert into the ACES world? The film is a sports doc (hockey) and I need to match game footage intercut between these 2 cameras, so getting their starting points close will save me a bunch of time in the long run I am sure. Which I can fix with some simple log corrections. Compared to the C300 ACES footage, the Pocket 4k footage is a bit more saturated and a bit less contrasty. I followed this tutorial ( BMPCC 4k / 6k IDT workaround for ACES in Davinci Resolve 16 - YouTube) which essentially had me convert the color space to one that has an IDT (Alexa). The pocket 4k (shot in prores), not so much. IDTs: The C300 Mk II has an IDT and seems to be playing nicely out the box. My basic setup is as such: Resolve 17, Aces1.0, AcesCCt, No IDT, rec709 ODT I did some searching but definitely might’ve missed something. If you want to point me to a forum post that I missed, that’s cool too. I’m new here and primarily a DP (tho getting more color gigs) so any info is helpful. Definitely don’t want to make any silly mistakes midway through the project and have to backtrack. I’ve been pouring over tutorials and forum posts, but have a few questions about proper workflow. Been wanting to test out ACES for a while now, this seems like a really good opportunity to do so. About to begin coloring a feature-length doc shot with 2 different cameras (pocket 4k, C300 Mk ii).
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