MASSIVE DaVinci RESOLVE 17 CANON EOS R5 8k RAW DECODE PROBLEMS and how to fix them.

[@mcneilbelle]

Awsome video man I’m seeing this issue with the canon R5c when I decode from full canon to quarter and half there are shifts in the color do you have any word that davinic fixed this issue

[@cinechimp]

Hey Brother, Not yet, but hit me back early next week as I will be picking up an R5C Friday too looking into this further.

[@mcneilbelle]

@@cinechimp ok I’ll write back on this thread on Wednesday around the same time

[@cinechimp]

@@mcneilbelle great

[@mcneilbelle]

@@cinechimp hey CineChimp any update with the R5c in davinic reslove color shifts when decoding canon from full canon to quarter ?

[@cinechimp]

@@mcneilbelle Hey there, just been super busy with work and first impressions with the R5c. The issue to me has not been solved by the resolve team (at a quick glance) ... trying ti get a good balance on the R5C build, so my spare time has been researching bits and bobs. Its really annoying that Canon didn't separate the HDMI port and USBc ports. they are too close together IMO. I have tried so many cables.....adapters....you know the drill.

[@lovellbanks558]

Hi, I'm thinking about buy a R5, has this been resolved yet in DaVinci?

[@cinechimp]

Sort of. If you use the proxy generator to make your proxies (for 8k RAW editing) you wont see it, but you’ll also be limited to 1080P 10bit, very low res looking proxies….

[@PAFFO]

Thanks for this video was really deeply technical and well made. Man , i was so excited about the 8k raw when i got my canon r5 ..... now im selling only because of the tidious workflow :( I have been using blackmagic 6k pro , and that camera has only one flaw, is missing autofocus, But im so in love with the ease of use of braw that i rather deal with focusing than those annoying files XD

[@cinechimp]

Hey there, Oh yeah I totally get you. And thanks for the kind words, many have disliked this video, as if its my fault the problem exists.... Personally I use both Braw and C RAW, but I really like the workflow that Panasonic provides at the moment. Maybe you should check out the s5x mkii - Im pretty sure that will do BRAW externally, and has great AF.

[@PAFFO]

@@cinechimp yeah im looking forward to try out that one ! For now my heart stays with blackmagic cause honestly , if it had autofocus will be my absolute perfect camera. speaking of autofocus, im currently working on decoding dji lidar, connect it to and esp32 and control a bmpcc 6k pro internal focusing motor of the lens via bluetooth. Of course 100% open source, if anyone want help i have thread on blackmagic developer forum, otherwise just hit me up anywhere XD XD

[@Digi20]

Did you ever encounter the problem that the ISO tab is grayed out and cant be changed? i constantly encounter this problem and it annoys me to the point that i want to throw my whole raw workflow out the window. in some projects it works, in some not, in some all clips cant be changed, in some only specific ones. often it helps to play around with the timeline color and raw settings but i am not able to really pinpoint the problem. even on a new project with a clean timeline it seems to have a mind of its own.

[@cinechimp]

Yes sometimes, this is the case. I find it is usually on clips that I have changed the ISO in shot.

[@Digi20]

@@cinechimp that was my first thought as well, but i couldnt replicate it for all clips.

[@Digi20]

i think i found it, in the project settings, the raw profile needs to be configured as canon raw, full res, and importantly decoding using camera metadata. without the metadata setting, the ISO field is greyed out in all timeline tabs regardless of what you i set there. i dont know if thats supposed to be a feature or a bug. it makes no sense to me regardless.

[@cinechimp]

hmmm you should just be able to do that in the RAW tab in the grade widow, but handy to know otherwise. I have found this issue to be one that comes and goes. It's there on some clips and not others, but never all. The decode with proxies from 8k to HD is a far bigger issue and can really freak clients out.

[@Digi20]

I know, however the tabs don't work the way they should for me. It's a pretty weird thing. As for the proxies, it's annoying, but modern hardware is just about able to catch up. Will be less of a problem in the future. i can at least cut and do simple color work in full res 8k50 on a 7950x and rtx 4090 system without stuttering and dont need proxies anymore, but its almost 100% load on both cpu and gpu that way. for real time noise reduction etc. it would easily need a 3 times as powerful GPU.

[@christellecubizolles6017]

Oh black magic design needs to fix this.

[@cinechimp]

That they should.

[@Masterhughesproductions]

RESOLVE 17.8 IS ALSO HAVING MEDIA LINK PROBLEMS WHERE IT LOOSES THE LINK TO THE MEDIA.

[@cinechimp]

I know mate. I have been trying to make a video about all the issues that I am finding. But currently theres so many and I keep finding more. So the video doesn't get finished.

[@Guerrillamoviemaker]

Thank you for sharing!

[@cinechimp]

You are welcome

[@vadim_sherbakov]

Do you have any news if Davinci fixed that in current version 17.4.3 build 10 ? Also does it concern both RAW and RAW light files (I guess it does but just checking)

[@cinechimp]

Its still a problem with the Canon RAW 8k files. I dont know how many times I have written to BMD with a product request fix.

[@GoldwireIT]

Do you know if this has been fixed in 17.4.4? I'm learning how to use Resolve and I use an R5 and shoot RAW video. I do have a question though. I do have to change my timeline resolution to 4k UHD and change the decode res to half in order to edit and playback in Resolve, but I'd like to know if I deliver out to 8k, does having my timeline in 4k UHD affect my final output video? Logic tells me no, but I do understand the bug you've pointed out that the decode quality can affect my final output. Just wondering if I have to put my timeline back to 8k for 8k exporting. Also, do you know the difference between "Full res - Resolve" vs "Full res - Canon".

[@GoldwireIT]

I got my answer about the timeline resolution from one of your other videos. I'm watching all your Resolve videos. I also subbed. I'm still trying to find out the difference between "Full res - Resolve" vs "Full res - Canon" though.

[@cinechimp]

@@GoldwireIT Yes I was about to write back saying watch this video kzbin.info/www/bejne/nJrYnamdpNOLsLM Full res resolve and full res canon These parameters let you choose the decode quality and method that raw clips will be transformed to use when debayered. So the difference is a resolve algorithm or canon algorithm for the mathematical transform - hope that helps

[@GoldwireIT]

@@cinechimp I'll watch the link. I read a few comments on Reddit about Canon vs Resolve debayer. Canon seems to produce better quality they say vs. Resolve, but Canon is slower. I have noticed that myself when I test out both. Do you know if Resolve has solved the issue you describe in this video on version 17.4.4?

[@cinechimp]

@@GoldwireIT Not that I am currently aware off.

[@bioluminantmedia]

I'm also having a problem with gross oversaturation on my raw video that doesn't appear when I shoot in 4k. Both using Clog3. Any thoughts on that?

[@cinechimp]

How are you setting up the project in resolve? (project settings)

[@bioluminantmedia]

@@cinechimp I believe I've solved the problem. In Resolve I always set up color management to be YRGB Color managed / Mode Custom / Input color space I set to Canon Cinema Gamut/Clog3 / Timeline color space to the same or DaVinci WG intermediate / Output color space to Rec 709 Gamma 2.4. So no matter what changes I made I still had the same problem. Then it dawned on me that since the problem was with Raw files only I went into the Project Settings / Camera Raw and changed the Raw Project settings to specifically Canon. No change, which I really didn't expect because as I understand it Resolve recognises the Raw file and manages Raw accordingly. So then I went to the camera menu and under the 8K setting I set the bottom row to the far left choice (simply "Raw"). Problem solved. Now when I bring in the 8k Raw clip it looks like a Rec 709 output and when I check "Bypass color management" it looks like I would expect a Clog3 file to look. I'm not sure why the other Raw setting, whichever it was, caused a problem but nonetheless, the problem is solved. And a word to those who are having a problem with the massive 8k files unlike Red or BMPCC6K Raw files, just make proxy files at half-res and that will solve your problem. I can easily work with the proxies on my laptop. Thanks!

[@cinechimp]

@@bioluminantmedia Using the colour managed workflow should also solve the issue for you. Out of interest have you downloaded the Canon C-log LUTs for resolve from Canons website and installed them?

[@bioluminantmedia]

@@cinechimp No I haven't. Are they Log to Rec 709 conversion luts? If so do you recommend them over having Resolve handle the conversion? Thanks!

[@cinechimp]

@@bioluminantmedia Yep, I would download them direct from the Canon website, by camera, shooting profile etc

[@wiebe1602]

Does anybody know if this problem persists in DVR 18?

[@cinechimp]

It sure does.

[@ericsamuels6250]

I like your way better to use a low res d code for playback and then switching it for grading and export.

[@cinechimp]

Hey Eric, Yep its the best way. Saves time and disk space. Explaining the visual issues to a client could be tricky though. Let's hope that BMD fixes the issues swiftly. The most positive thing is our cameras are not creating the issue.