It is also worth noting that the S-Log2 of the FS700 is not in proper S-Gamut colour space. The tutorial video I made to go with it is here: There is an out of date version of the article on their website which should be ignored.
#GUIDE TO LUTCALC HOW TO#
I wrote a workflow guide for Convergent design on how to deal with 7Q DNGs in Resolve. You need to transform it if you want it to match the internal S-Log2 recordings of the FS700. It's worth noting that FS-RAW recorded on the 7Q is not S-Log2. Is there no technical LUT to bring the files from BMDFilm -> sLog2 -> Rec 709 or is it literally a matter of creating your own custom LUT to bring files into spec? Convergent Design also provide a bunch of 'creative LUTs', but I'm not interested in that. Some web searching hasn't really given me the answers I'm looking for. I know stacking LUTs is not the best practice, but one could assume that would be the way to get there? Will post screenshots soon. sLog2 to Rec709) for the dailies look the results are completely unexpected. but then say we decided to stack another LUT (eg. Essentially what it seems to be doing is converting one gamma/space to another. Convergent Design's website has a couple of links, and both are asking end-users to use a provided LUT that transforms the 7Q cDNG from 'BMDFilm' to 'sLog2'. I'm perfectly happy with grading from log gamma with primaries as usual, but my understanding is that the 7Q's use of cDNGs (sLog2) vs Resolve's expectations of cDNGs (BMDFilm) are different- because of open standards.
709 dailies, and to grade sLog2 when accessing the original files.įor the life of me, I can't find any solid information on color managing this particular form of sLog2.
FS700 with the 7Q, 4K raw cDNGs in sLog2.
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