Go to File -> Import timeline -> EDL, to Import the EDL timeline.Īs you can see colors are almost matched, and this is because we are in ACES color space. ![]() Import the black magic files and the raw C200 files to resolve. Then go to Color Management and select ACEScc under Color Science andĪnd change ACES Output Device Transform to Rec.709 In Resolve we are going to work in Aces color space.įirst of all, make sure you are working with the right resolution and frame rate. So I duplicate this with alt + drag and change camera by pressing 2 and 3 here. I can use the multicam to cut the timeline later.įor this demonstration I’ll need the three of them one after the one. Since I have three cameras here I just align the clips and created a multicamera composition. If you want to generate proxies for the Black Magic files you can do that in Resolve. ![]() ![]() The reason why I use the C200 proxy files is because I usually do a rough cut in Premiere Pro and then color grade in Resolve. You can do this manually or you can use my code that I illustrated in a previous video. Rename the C200 proxy files so that they have the same names of the raw files. This is a short video to illustrate how to color match raw videos shot with 2 Canon C200 using different lenses and one Black Magic Pocket Cinema Camera 4K with Davinci Resolve and the ACES color space.
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