Gen-5 color science *is* found in the Camera Raw color palette of the color page, but you can't use transform Prores there because it's not RAW. If your version of Resolve Studio has Gen-5 Color space transforms (CST) that would be useful to know, mine does not. What I'm saying is with Prores (not BRAW), that you don't have a color space transform to match the P6K-Pro color space to the P6K, without you having to match them with the grading tools. Do you see anything in the long list that says Gen-5? It's not there. I'm on Windows 10, Resolve Studio 9 shipping version, not Public Beta. Input Color Space/Timeline Color Space/Output Color Space those are the Color Space TransformsĬlick the dropdown box for each, see BMD Gen-1/Gen-3/Gen-4/Film/Video/Wide Gamut/4K/4.6K/6Kĭo you see anything anywhere in those drop downs that say 'Gen-5?' I don't. Use Separate Color Space and Gamma = box checked Resolve Color Management Preset -> Custom Go to project settings -> Color Management -> Color Science -> DaVinci YRGB Color Managed Also not talking about Raw options, talking about Gen-5 color.

That's the Camera Raw palette on the Color Page. Rick.lang wrote:I usually work in Resolve YRGB so I see all the raw options. *The only time a colour science version may matter for RCM/ACES is if the 'fit' from sensor response to XYZ is modified but that is rare (at least in our case so far which is why you see no difference in RCM with Gen 4/5). R17 went GM today so I would try that first - I'm not sure when you say clip if you mean 'luma' or gamut but if it's colour (not surprising with 709 primaries) then definitely try the gamut compression toggle if you haven't. If you could share some individual BRAW frames (exportable from the RAW tab) and some screenshots of your settings and the output you see we could try figure out if something is unexpected. If Resolve is part of the workflow I'm not sure why one would pick ProRes honestly since BRAW clips can be smaller if needed and perform just as well on desktop (transcoding is fast too if necessary) but I realise everyone has their reasons for how they - your experience sounds odd. Until then If you have a P6K Pro with Gen 5 and need to match ProRes Gen 4 from another camera and you're working with a Resolve version that doesn't have Gen 5 RCM/CST support, your only practical option would be to shoot BRAW on at least one of the cameras. I know there was a question on input space in regards to ProRes files but just so people know for RAW clips this setting does nothing for the previous reasons (Resolve handles - yes your summary is - I can't comment on when the update with Gen 5 support will come but hopefully soon. This is why for Blackmagic RAW in RCM or ACES those gamma/gamut options get greyed out - because Resolve forces the options it needs and gets the output it wants from the SDK so it can do its own transforms. For ACES its similar and the RAW SDK can decode in Linear ACES AP0 and then go through the rest of the pipeline. For RCM Resolve can ask the RAW SDK to decode into Linear XYZ and then it can do any transform it likes from there - in the case of DNG the information on how to decode as Linear XYZ is in each DNG frame. RCM with RAW codecs (BRAW, DNG, ARRIRAW, etc) doesn't really care about colour science version as its generally irrelevant*. In the meantime, like you, I’m writing notes to myself to get a handle on this. Sorry to put a burden on anyone, but BMD is always so good at clarifying for their users what other vendors leave to the anointed and hallowed cognoscenti. This thread has been extremely helpful, but a white paper seems to me the best place to put this for ease of the readership.

It would seem Captain Hook is the best person to provide input or oversee the task.

The manuals don’t really seem to discuss best practices for web (computers/mobile devices), television (SDR/HDR), and Cinema deliverables. I think I have an idea what is required and I’m comfortable with that, but it would be much better to have the best practices for various scenarios defined by BMD. I hope after Camera Update 7.3 is released and DaVinci Resolve Studio 17 is in general release, we can put together a white paper describing best practices for Colour Science Gen 5 and Resolve YRGB, Resolve Colour Managed, and ACES for both delivering to HDR and SDR.

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