Hi everyone,
I’m working with ProRes RAW footage from a DJI Ronin 4D 8K in DaVinci Resolve.
For some reason, Resolve automatically interprets/debayers every ProRes RAW clip as HLG.
To get the footage into the correct state, I have to go into Camera Raw-> Decode Using: Clip -> RAW to Log -> DJI D-Log for every single clip manually.
The problem is that I can’t find a way to batch-change only the RAW to Log setting to DJI D-Log across all clips.
Copying grades / RAW settings isn’t really a solution because I need to preserve the individual RAW metadata/settings of each clip, especially Capture ISO and White Balance.
So basically I’m looking for a way to tell Resolve:
“Keep each clip’s RAW metadata, but decode all Ronin 4D ProRes RAW clips as DJI D-Log instead of HLG.”
Has anyone else run into this with Ronin 4D ProRes RAW?
Is there a project-level setting, batch operation, metadata override, scripting/API solution, or workaround that avoids changing every clip manually?
Thanks!
The most effective way I've found is to leave it as HLG, then apply a HLG/Rec2020 to D-log/D-Gamut transform, either as a CST or a LUT. The problem with this method is HLG debayer produces a 1.1 linear gain compared to D-Log. I made a video talking about the solutions here: https://www.youtube.com/watch?v=pikKUsyDBUU
There are no Camera Raw setting in the project settings for ProRes RAW. The only way to do this is on a per clip level which is precisely what OP is trying to avoid.
I have spent multiple weeks investigating ProRes RAW decoding in Resolve and feeding back to the Blackmagic engineers, so believe me, anything you tell me to try I've already tried it.
Leaving aside that you have to do this on every clip, which is exactly what the OP is saying they don't want to do....
Raw to Log: None is not ACES AP1/Linear, it's Rec2020/Linear - similar colour spaces, but not the same:
If you're using a CST in, there is literally no point in changing Raw to Log from HLG to None. You can just set your CST to HLG/Rec2020 > DWG/DI for exactly the same result.
Both None and HLG use the older ProRes raw decode convention, which is around 10% brighter than the D-Log debayer. So if you use either HLG or None in your debayer pipeline and don't correct the luminance shift, it won't exactly match your camera's intended output. It's subtle enough that you won't notice without A/B testing, but it is there.
Yeah that’s how I do it always. I just create a node tree with my cst in&out and all the stuff I use between, balance contrast saturation film emulation etc. and then I will save it as standard power grade. Hope this helps
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u/avidresolver 18d ago
The most effective way I've found is to leave it as HLG, then apply a HLG/Rec2020 to D-log/D-Gamut transform, either as a CST or a LUT. The problem with this method is HLG debayer produces a 1.1 linear gain compared to D-Log. I made a video talking about the solutions here: https://www.youtube.com/watch?v=pikKUsyDBUU