![]() ![]() Then play that in the NLE *without* any LUT or color space transform, while examining the waveform monitor. For Sony SLog3 that is 61% IRE on a 90% reflective white card. To get a more consistent understanding of your situation, it's often best to record a color card at the camera manufacturer's recommended exposure. Because of all the varying behaviors with NLEs, playback apps, monitors, display profiles, legal vs data levels and color tags, you can't totally trust the visual appearance. One key item to remember is the recorded luma & gamma as shown on a waveform monitor may be more trustworthy vs than the visually display (say due to a monitor color profile). This recent article from Iain Anderson is also good: It is a very confusing area. Yes that video is probably the best explanation I've seen. Also, this video is brilliant for anyone who's interested. Yes, the files are indeed S-Log3 but that shouldn't matter after being rendered in DaVinci am I wrong? DaVinci exported the file but it looks washed out, not only in FCP but also on preview and all players. On export, the result was the same like above. In this case I created a brand new project as I needed a completely different colour transform settings set. ![]() More specifically, it resulted in a H264 file with the exact washed out look like the file looks when imported in FCP. This made a difference but not in the direction I was hoping for. Exporting by changing the Color Space Tag and the Gamma Tag. Thank you so much for the response, you're definitely on to something! Some NLEs don't interpret that correctly. Try that, re-export it, import to FCP and see if it makes any difference.Īnother possible cause (if using Sony SLog3) is by definition that uses "data levels", not "legal levels". 709-A for timeline and output color space. If you set the Resolve project settings, color management tab to Rec. ![]() The image is a bit more washed out and less punchy.Ī common cause of this is Resolve defaults to gamma 2.4. The skin tones look a bit more washed out and in general looks like there's a bit more exposure and less saturation. I had to edit and colour grade my latest project in DaVinci Resolve.I exported an H264 file from Resolve that looks great and it looks beautiful on everything (Quicktime, other players, Mac Preview).But once I drop this file into a Final Cut timeline (Rec709), the contrast is definitely off. In case you ask, exporting the file again from FCP also creates a file that's washed out and the difference is clear in Quicktime player. I have attached some images for comparison- pay attention to the oranges and the skintones. One thing is for sure, the issue lies in the way that FCP interprets the footage because the it plays with the correct colour anywhere else- plus when you upload it on YouTube.ĭoes anyone have an idea on what might be going on here? There aren't that many options for colour profiles in Final Cut anyway. I have tried many different things but I cannot figure out why this is happening. ![]() The image is a bit more washed out and less punchy. I exported an H264 file from Resolve that looks great and it looks beautiful on everything (Quicktime, other players, Mac Preview).īut once I drop this file into a Final Cut timeline (Rec709), the contrast is definitely off. I still wanted to do some work in Final Cut though. Due to some bugs that have rendered Color Finale unusable on my M1 Max Macbook Pro, I had to edit and colour grade my latest project in DaVinci Resolve. ![]()
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