The main question about is: will the information that is outside of the color & luminance range of the rec. You can actually import the timeline from Premiere to Davinci, so. But Davinci is now the way of finalising the edit, tools to monitor and control the colour of your footage are simply beyond compare. that is great!Īnd Yes, for example it is easier to key only certain colors in a color space like rec.709 because the colors are more distinguishable for the computer. Premiere is great for quick editing, multi-cam work, I love the shortcuts and how you can build the interface around your workflow and project. Thanks, Color Management is pretty much what I looked for in the first place.

Yes but the problem with the LUTs is, that You loose all the information over and below the Gamma of Rec.709. So I think they’re giving the better base to color grading. Also removes the tint shifts within skin tones. Editing is done on the cut and edit pages, visual effects and motion graphics on the Fusion page, color correction on the color page, audio on the Fairlight page, and media organization and output on the media and deliver pages. They definitely give better more accurate natural colors in general. DaVinci Resolve is divided into 'pages', each of which gives you a dedicated workspace and tools for a specific task. You want to revert to log, after doing in corrections in rec. It’s subtle but that’s the point in color grading. You might also want to look into Resolve Color Management, which automatically detects the input color space of braw clips.Īs for your second question, you lost me. You can, however, use the supplied BMPCC 6K - rec. John Paines wrote:For reasons unknown, the BMPCC 6K transform is missing from Resolve's CST (though it's possible there's an equivalent among the other choices).

Blackmagic color grading