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These parameters let you choose the decode quality and method that raw clips will be transformed to use when debayered.
— Decode Quality: Lets you debayer .braw files at Full, Half, Quarter, or Eighth resolution to improve performance on slower systems. Lower resolution media is lower quality but faster to work with and process. If necessary, you can choose a lower resolution setting that provides better real time playback on systems with limited performance while you work, and then switch to a higher quality when rendering the final output. A “Force debayer res to highest quality” checkbox in the Render Settings list of the Deliver page makes it easy to follow this workflow.
— Decode Using: The option you select determines whether all .braw media throughout the project is decoded using the original Camera Metadata settings (the default selection), using Project settings in which you choose custom settings to be applied to all clips, or using the Blackmagic Raw default settings.
Project Settings
These parameters let you choose the color science, white balance color space, gamma, and other visual settings guiding how the image will be transformed to suit your program and RCM.
— Color Science: Lets you choose what version of camera color science you want to use to decode .braw media.
— Camera Metadata: Chooses whichever version of color science was selected by the camera at the time of shooting.
— Gen 4: The original version of color science available for recording and decoding .braw media.
— Gen 5: A newer more film-like curve designed for better skin tones and high contrast/saturation color response.
— White Balance: The first seven options offer White Balance presets, which automatically adjust the Color Temp and Tint parameters. These options include: Daylight, Cloudy, Shade, Tungsten, Fluorescent, and Flash. An eighth option, Custom, makes the Color Temp and Tint parameters user-adjustable. The default is As Shot.
— Color Space: Debayering .braw data requires choosing a color space to convert the raw signal into. Bear in mind that the color space you choose is merely a starting point for further correction. There is no requirement that you choose one or the other color space for any given workflow,
and all settings will yield high-quality image data suitable for further color correction. You should choose the color space that provides the most pleasing starting point for your particular project.
— Blackmagic Design: A wide gamut color space designed for digital cinema workflows on Blackmagic Design cameras.
— Rec. 709: Decodes into the standard color space specified by the Rec. 709 standard for high definition video. While you may find this option useful as a starting point, it is not required for programs being output to video.
— Rec. 2020: Decodes into the standard color space specified by the Rec. 2020 standard for high definition video, UHD video, and beyond. While you may find this option useful as a starting point, it is not required for programs being output to video.
— DCI-P3 D65: Decodes RGB-encoded image data with a D65 white point, intended for monitoring with a P3-compatible display.
— DCI-P3 Theater: A setting designed for adaptive viewing of DCI-P3 in a theater with a projector using a D60 white point.
— CIE 1931 XYZ D65: A specialty setting for outputting to an XYZ color space with a D65 adaptive white point.
— CIE 1931 XYZ D50 (PCS): A specialty setting for outputting to an XYZ color space with a
D50 adaptive white point, as used by the profile connection space of the DNG image format.
— Gamma: There are several options available for choosing a gamma profile to be used when debayering .braw media. Which one is best really depends on how you like to work, as all will yield high-quality image data without clipping the signal internally within DaVinci Resolve’s image processing pipeline. Even though some of these options will produce a range of image data that will clip on output, all of that image data is preserved “under the hood” and can be used and retrieved in your grade.
— Blackmagic Design Film: A log-encoded “film workflow” oriented option that’s specifically designed for version 4 of the Blackmagic Design color science. This option is designed to fit the maximum amount of information from wide latitude BMD cameras into the data range of 0–1023. Using this setting provides all the dynamic range from the source media into a signal that can be transcoded to other formats with no compromise. However, this is not a viewable image and requires grading to normalize it into an image that can be delivered to audiences.
— Blackmagic Design Video: The standardized gamma curve for standard-dynamic-range HD and UHD display. For wide-latitude images, highlights will be clipped, but all image data will be preserved internally for retrieval via grading as necessary.
— Blackmagic Design Extended Video: An SDR-compatible gamma curve similar to the above but with compressed highlights that preserve more highlight detail in the visible range of the image. Intended to be a fast starting point for grading SDR images. Fewer highlights are clipped, but nonetheless all image data is preserved internally for retrieval via grading as necessary.
— Blackmagic Design Custom: For specialty workflows.
— Linear: A scene linear setting, suitable for visual effects and specialty workflows.
— Rec. 2100 Hybrid Log Gamma: The standardized gamma curve for the HLG standard of high-dynamic-range (HDR) video jointly developed by the BBC and NHK.
— Rec. 2100 ST2084 (PQ): The standardized gamma curve for high-dynamic-range (HDR) video as encoded by Dolby Vision and HDR10+. Also referred to as the PQ curve.
— Highlight Recovery: A checkbox that lets you include additional highlight sensor data that’s usually clipped by the standard decoding matrix. In cases where you have extremely clipped peak highlights, you may obtain additional image detail this way, although it may contain unusual color artifacts.
— Gamut compression: Prevents monochromatic highly saturated light sources (LEDs, neon signs, etc.) from clipping the gamut.
— Apply LUT: Applies color metadata to the BRAW file from the selected LUT source.
— LUT source: Choose the color metadata from the sidecar file, or the metadata embedded in the clip.
— Saturation: Adjusts the color intensity of the image. 1 is unity. The range is 0 (desaturated) through +4 (extremely high).