Worth noting: the D16 has already produced fantastic footage for me, using BMD Film and Alexa presets in Resolve, shot on the old firmware, out to ProRes, edited and colored from ProRes, DCP projected at festivals all over the country (many shots in SIR DOUG & THE GENUINE TEXAS COSMIC GROOVE). Perhaps all of this warrants a new blog post once I figure it out-or when you have the time to write your next one, as you probably know the answers to these questions! Should I be always shooting with a crop frame in mind, use the edges for image stabilization? Best practices for resizing/reframing D16 2K footage when finishing to Theatrical DCP or 1080p? When do you reframe/crop, or resize? ¯_(ツ)_/¯! OR 5:1 might just be a silver bullet for me, and comparable space savings with other compressions would be negligible. Or acknowledge the essentially transitory nature of life on earth. ‘TECHMOLOGY.’ Like Ali G, having not done maths lately, or studied the latest compression technology, I plead ignorance: it might even be a dumb idea and better to just backup like a motha and hope for the best. Theoretically, in a few extra minutes, you and your computer can do this far better than any camera can, and you could have small but high quality compressed files. So you’d have something to go back to if disaster strikes, but compressed as much as technologically possible at the time, hopefully without sacrificing too much color, native resolution or motion rendering. I have no background like yours for understanding whether this makes sense, but the idea would be to create either First Light (if you have a few minutes to spare to do a quick pass) or Log (if you don’t, or maybe either way, for space savings?) Proxies that you quickly could burn to archival BD-R media at a reasonable minutes/GB ratio, right after ingest of the footage. …I’ve long thought it would be cool to create an “archival / retrieval” proxy preset in Resolve, using Log-which, thanks to your work, we now have for the D16!-and the most efficient 10bit codec currently available. Keep Lossless DNGs if have the space to spare, grumble to myself about keeping DNGs AND ProRes, backing up both over the years, or delete ProRes when I finish the project, if it bothers me that much! NARRATIVE Workflow: D16–>SlimRaw Lossless–>First Light in Resolve–>Export ProRes LT or ProRes for edit Wherever–>Roundtrip back to Resolve for final color, Export. Cross fingers and keep 5:1 as archival, delete original DNG. DOC / high shooting ratio Workflow: D16–> SlimRaw 5:1 Lossy–>edit within Resolve, Export from Resolve. More rambling below, only answer if you have the time and the interest. Here the second has the BMD Film to Rec 709 v2 LUT that comes with Resolve with a wipe to show the difference between the plugin’s BMD Film and the LUT. The plugin acts as the raw panel and then on nodes after you can do your grading. Here we have the plugin in action on a CFR file. Of course, it’s not perfect, but it does the job in real time. Highlight Recovery: I attempted to write a highlight recovery algorithm. D16 users should set this to 200 if they shot at exposure without underexposing or ETTR.
So if you shot at 1600 ASA on the camera, put that here too, otherwise your exposure will be off. Use these to make the image exposure match what you were shooting at. I’m not exactly sure what options the Blackmagic cameras have, but these are the ones I thought to be most common. I know it’s weird, I just haven’t worked out the logic that works with the OFX API yet I’ll get it fixed eventually. The sliders also don’t affect the image unless you’re in Custom mode. The sliders will still show 6500 and 0 if you haven’t changed them.
#Slimraw mac update
The thing is the numbers on those sliders only update when in Custom mode. You get the normal options for white balance presets and two sliders for temperature and tint. Okay, this part’s a little quirky and is likely to confuse some people.
In other words, it doesn’t bring the linear image to scene referred values where middle gray is 0.18, it gives the data as it was recorded. The Sensor RGB transfer function gives the linear data as if you were looking at the uncorrected, linear DNG image. The gamma slider affects only the gamma option. All of these are written according to their official documentation except for BMD Film (4K) which was added from the 12b LUTs included with Resolve. Again, I tried to get the most common transfer functions.
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