Vanadio
lvl.1
France
Offline
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Hello,
Thank you for your response. I appreciate the suggestion to perform secondary color adjustments using the provided LUT, but my concern revolves specifically around the source color space for the Avata 2’s D-Log M footage.
To elucidate:
Lack of Metadata for Source Color Space: The Avata 2 Dlog-M footage does not have metadata specifying its input color space. This absence makes it challenging to establish a precise starting point for color grading in software like DaVinci Resolve, which relies on known input color spaces to manage color transformations correctly.
Necessity for Defined Source Color Space: Without a defined input color space, using a LUT to convert to REC709 is not fully leveraging the potential of the log-encoded footage. The LUT provided converts the footage directly to REC709, but without understanding the source color space, this process is akin to a "black box" that might not utilize the full dynamic range and color gamut captured by the camera.
Requirement for Accurate Color Grading Workflow: a comprehensive color grading workflow starts from a defined input color space ("input camera space") and moves through an intermediate wide gamut space before delivering in REC709. This process ensures maximum fidelity and flexibility in color grading.
Could you please confirm whether there is a specific color space that the Dlog-M is designed to comply with? Or, if possible, provide guidance or a profile that defines the Dlog-M’s color characteristics?
It's plain wrong not to provide the color space of a camera that has (among others) selling points in its high quality / high fidelity 10bit log format...
Thank you! |
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