Colorgrading RAW footage from Canon C200/C500 II

[@dlpasco]

This video is so good - I keep coming back to it for reference. Thank you!

[@aov_james]

I was always so confused how this works in davinci... you've explained this in most simplest way. Thank you so much!

[@gongfan5181]

The best Canon RAW post processing tutorial I’ve ever seen. Thank you!

[@SwaytekDigital]

This video was insanely helpful, super simple breakdown. Thank you for this!

[@70mmdreams]

No one else mentioned this raw highlight slider to use, thanks man 😊

[@ChrisHuntTunes]

Thanks Hugo! In your last example, I believe highlight recovery will work with the color wheels as well if you create a new node at the beginning of your chain (before the color space transform and lut is applied). Each node applies changes after the previous nodes have been applied, so highlight recovery will only work if it's attempted at the beginning. I think highlight recovery is working in the raw panel right now because those adjustments are applied to the footage before any of the node adjustments are applied.

[@HugoWill]

That's a very good point. But I just tried that, and it pretty much did the same compression of the image instead of recovery. When I use RAW settings, it really pulls put info that before showed as clipped. And I like the way it does it. It doesn't really reduce the overall exposure, with better selection and targeting to highlights only

[@ADVTRV]

WoW 😮 Really Helpful ! I Hope it works the same for the Canon Log 3.

[@bangersallday]

Great tips, thanks!

[@cinema-q]

Tremendous colors! Wow. Wish i could get something like this in Premiere.

[@theeasternblok6349]

Absolutely amazing! After I saw your reel I watched everything you made, so impressed! Could you tell me what lens/lenses you used with your C200 on the Manhattan Bridge shot and the one in the underground metro? The most cinematic image I've seen using canon 🙌

[@HugoWill]

Thanks. I used Sigma Art 18-35mm

[@JamesJacksonFilmz]

Hey man. Great video. Did you know you can change the raw from c-log 2 to c-log 3 in the raw development tab. Just change setting to “Full Res - Canon”.

[@HugoWill]

thanks. Yes, sure. But I don't really se a point of using anything but Clog2. Clog2 is the flattest log profile. Clog3 has only a half of latitude of clog2

[@JamesJacksonFilmz]

Hugo Will while true it’s the flattest but from my experience C-log 2 is only usable in the 12bit record modes otherwise there’s not enough information in the shadows and gets too noisey. I use c-log3 when I am shooting at high frame rates as they are 10 bit in those formats.

[@HugoWill]

@@JamesJacksonFilmz I shoot a lot in 60fps which is only 10 bit, but I still always clog2. For instance, in real estate, I simply can't use clog3, because I loose about 1-2 stops. Probably it's true about noise, but I'd rather have more noise, than less DR. This noise isn't visible after online compression. and even if need a cleaner image, I denoise it. But I do it rarely, only on extreme ISO (6400-12800)

[@KevKlopper]

@@JamesJacksonFilmz has nothing to do with bit depth since most modern 8bit cams give out the cleanest 8bit. The reason that it's cleaner is that in clog3 the blacks are crushed aka loosing stops so you don't see the noise anymore. Clog2 all the way

[@nickfranik3141]

Very instructive video Will. Thank your for sharing with us. May I ask you if you shoot 400 or 800 asa. Seems that clog2 is meant to be shot at 400 (to avoid noisy shadows) while clog 3 at 800.And do you expose trying not to get whites over 90 ire like it is advised by Canon?

[@HugoWill]

Thanks. Native ISO is 800, which means the best DR will be at this sensitivity. 90% of my shoots I shoot with 800, because this way I can recover up to 3 overexposed stops. If I know that I won't have to recover overexposed areas in image and I need less noise as possible, then I shoot with less ISO. But the noise at 800 isn't bad at all. Arri and Red have the same amount of noise at same settings, plus this noise isn't visible at all after online compression.

[@rebelmonkey]

Thanks for tutorial. Can you share some RAW Footage?

[@MrPrid]

YES! Is it possible? :)

[@HugoWill]

sure. drive.google.com/open?id=1QPeRRzJEitcFeBOIq3tchzjswGHfNK_R

[@williamji]

Amazing tutorial as always, my question is there a way to round trip Canon raw footage from FCPX?

[@HugoWill]

Thanks. FCPX has very basic settings... doesn't really give much options there... I always edit in Final Cut and then send XML to Davinci

[@williamji]

thanks for that, I own a C200 but I never used raw, would love to see a C200 clog3 grading tutorial if possible. 😀

[@BayBoyFilms]

Now I can buy a C200...Thanks

[@NathanKatash]

hope to see in the future the same video with the pocket 6K

[@HugoWill]

I'll do my best

[@steven196811]

Great video as usual Hugo, thanks a lot! I notice you have sliders in the RAW tab next to the values.. highlights etc.. how do you activate this ? I don’t have this option. Cheers

[@HugoWill]

RAW setting only available in paid version of Davinci ($299). This software is definitely best money value among others, and offers a lot more. It's definitely worth the upgrade

[@jetwayartisman]

Can you post a SS of your project setting,so that we can know whether you used Davinci Color Managed,Davinci YRGB etc..please start video by explaining showing showing project settings

[@HugoWill]

I didn't explain that because I used default settings. By default it's set to DaVinci YRGB

[@jetwayartisman]

@@HugoWill thanks..

[@itsoverat6000]

Love the video! New sub

[@HugoWill]

Thanks for the sub!

[@arthurbell4614]

Hey thanks much for this - i just heard that there is finally a 'Canon C200' raw option in Resolve? ( apologies if this is in your video - will watch in the morning!.

[@AyushSharmaa]

06:38 you are applying 2 rec709 LUTS, one of Arri and one of the film look. thats wrong. You have to remove the arri709 lut.

[@LasseAncher]

not true, the first is a conversion lut. the next is a "look lut".

[@HugoWill]

first one is arri rec 709 lut, second is film emulation

[@garethpearce5255]

@@HugoWill The second film emulation lut is meant to be used on a cineon log profile input. Try using a CST before that film emulation node to take it to cineon first, make a compound node with those 2 and then dial back the strength using the key adjustment. You might find you get some nicer reults, this is the moethod I use now, and I think it works well.

[@leroysane5987]

Ты из России?

[@HugoWill]

from Ukraine

[@leroysane5987]

Понятно)

[@orangerecords_studio]

teheLUT does not have enouhg contrqast !???:)))) you dont know what Ur talking about. LUTs is for newbies !