Apple Pro Res Log | First Look Color Grading in Davinci Resolve

[@RaoulEnoiu]

Let me know your thoughts on the new iPhone. Have you used ProRes Log yet?

[@MaximoJoshua]

OK, there was a lot that was good about this, but I think you would benefit from reading the Apple Log White Paper... Apple Log specifically bypasses tone mapping and digital sharpening, or as the white paper says "minimal processing". The file size is big because of ProRes (the bitrate and lack of interframe compression), the file resolution is still 4k...not 48 mp or 24 mp (the resolution). 4k footage, is by definition, approximately 8.3 MegaPixels (3840 pixels X 2160 pixels = 8294400 pixels) The color gamut that Apple Log uses is Rec2020, not Rec709. You absolutely nailed that one should use Color Space Transforms (or the project settings color management which does basically the same thing) and I love that you showed the uncorrected log twitter account.

[@RaoulEnoiu]

Love it! Thank you. Admittedly I didn’t read it but I found out later on by messing with it that Rec2020 is the correct option. I should make an updated video now that I’ve used it for a little longer.

[@fujicinema]

This is great information!

[@iamVinnyK]

First time coming across someone making use of two "colour space transform" nodes and learned a lot!

[@RaoulEnoiu]

Thank you! Glad to help 😁

[@KoolCreation]

Awesome tutorial I've been playing with Pro Res but still learning Color Grading and Resolve.

[@AllThingsFilm1]

Great walkthrough. I agree about using CSTs as opposed to LUTs. LUTs are great for fast turnarounds. But, CST still give you more control. Whereas LUTs tend to bake in looks. I have the iPhone 15 Pro. And from my initial test shots, I've been very impressed with how clean the shots are. I went from the iPhone 12 Pro Max to the 15 Pro. And the difference in video quality was astonishing. I've been thinking that the iPhone 15 would make a great b-cam for wide shots where depth of field isn't an issue. The Cinematic mode is still not convincing enough to replace my Sony FX30 in regards to depth of field capture abilities. Nonetheless, I can see the iPhone 15 Pro/Max being used to make movies. Thanks for your color grading techniques. Subscribed.

[@RaoulEnoiu]

I really appreciate it! Thanks for the kind words. I actually found the same thing as you going from the 13 Pro Max to the new 15. Log made all the difference. I tested out ProRes Raw on the 13s but the HDR processing and lack of log wasn’t good. The phones won’t replace really good glass for me but if you’re in a pinch it could be convincing.

[@roman_prystaiko]

Rec2020 and Apple Log as input colour space. Why REC709?

[@detlevchristianschmidt5383]

so much useful info in this video, thank you raoul

[@RaoulEnoiu]

Thank you so much! I appreciate that

[@drewfl]

thanks so much, helps a lot. its tampa airport I live near by.

[@RaoulEnoiu]

Love it! It’s a pretty fun place to chill on the roof lol

[@drewfl]

@@RaoulEnoiu I love this area, so many things to do.

[@PatrickViebranz]

Thanks for sharing this great video,. Helped me a lot!

[@MarkRoach]

Thank you

[@RaoulEnoiu]

Of course!

[@sebleblan]

I only have the option for prores hdr on iphone 13 pro, no log.. is that normal?

[@ZorzGaming]

Why the nodes ? Please explain.

[@MaximoJoshua]

He is using an Input Transform, which takes the image from the "capture space" which is apple log (should be Rec2020/Apple Log), to the "working space" which is Davinci Wide Gamut/Intermediate, that is the first node. In between, he is adding any other corrections, adjusting exposure, color balance, contrast, saturation, etc. Then he is taking the image from the working space to the delivery space using an output transform, which I think in his case he is outputting to Rec709. it should look like this Apple Log => Davinci Wide Gamut Intermediate => Rec709 The idea is that regardless of what color profile was used to capture the footage, we always work with it in the working color profile of Davinci Wide Gamut Intermediate, meaning I can mix other shots from an Arri or a Sony, but apply the same look to all shots, etc. As an example, let's say I wanted to make an HDR version of my video, I can just change the output transform node to convert the image to HLG for example. Cameras capture footage using their color profiles (Arri Log C, SLog 3, Apple Log) Color graders grade footage using their color profiles (Davinci Wide Gamut Intermediate, ACES cct) People watch footage using their display's color profiles, or the format in which it was delivered to them. (Rec 709, Rec2020, Rec2100, PQ, HLG, Dolby Vision, HDR10+, etc) Color Management is the process of working through these different stages in a mathematical automatic way.

[@ZorzGaming]

@@MaximoJoshua Thank you for the detailed reply. I'm still learning and its a bit complex but I think I got the gist.

[@MaximoJoshua]

@@ZorzGaming no worries

[@eliaslimapro]

👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻

[@peterplantec7911]

Raoul. What you have to teach is very important. Unfortunately your presentation is a bit disorganized and you use esoteric terms that are impossible to follow. We’re watching this because we don’t know this stuff. So using specialized terms we get lost almost immediately. My suggestion is that you work your presentation down to plain language for we beginners. I'm not actually a beginner and i’m having trouble following. That said, I appreciate the time you put into this.

[@RaoulEnoiu]

I appreciate the feedback! Definitely working on this. My focus is on this with all new videos coming out.

[@peterplantec7911]

@@RaoulEnoiu excellent