Its a shame these weren’t saved as original raw or X-OCN frames (You can extract single frames using Sony’s Raw Viewer). Then you could use the metadata tools in Resolve to adjust the exposure, lift, gamma, gain, shadows, mid and highlight levels used for the de-bayer. I’ve found that Venice material has a lot of stuff way down in the shadows that is easiest to recover using the metadata shadow and lift controls. Same with the extreme highlight range. You get very nice exposure shifts simply by using the metadata ISO control.

Alister Chapman

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On 24 Mar 2018, at 11:28, Mark Kenfield < mark@...> wrote:

Thanks Colin, Geoff and Nick,

Both of those methods seem to work a treat.  

Using the OFX tool Colour Space Transform in YRGB mode, lets me get back to SLOG3/Sgamut3.cine (or close enough at least).

And ACEScct + no IDT + rec709 ODT brings me to a neutral Rec709 space in ACES.

Cheers,

Mark Kenfield

Cinematographer

www.dreamsmiths.com.au

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On 24 March 2018 at 22:19, Nick Shaw   <nick@...>  wrote:

If you don't want to work in ACES mode, you can use the ResolveFX Color Space Transform to convert to e.g. S-Log3 / S-Gamut3.Cine, so you can, for example, use a LUT designed for that.  

You will need to convert both the gamma (linear to S-Log3) and gamut (ACES AP 0 to S-Gamut3.Cine). ACES also has a different white point, so you will need to apply a chromatic adaptation from ACES white (~D60) to D65. I am not in front of a Resolve system right now, so I don't know how (or if) the Color Space Transform effect handles white point adaptation.

Nick Shaw
Workflow Consultant  
Antler Post
U.K.  

On 24 Mar 2018, at 10:16, Mark Kenfield < mark@...> wrote:

I've pulled the EXRs into Davinci to have a play around with them. But I haven't worked with EXRs before, and I'm struggling to convert them from Linear, back to a conventional Sony SLOG3 gamma that I can then work from.