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— Contrast: Increases contrast by raising the top of the signal and lowering the bottom of the signal about the Midpoint slider (described below). Raising this value increases contrast, while lowering this value lowers contrast. 1 is unity. The range is 0 (minimum contrast) to +2 (maximum contrast).
— Midpoint: The level about which contrast is either expanded or contracted. 0.41 is unity. The range is 0 (black) to +1 (maximum white).
— Highlight Rolloff: Makes it easy to selectively retrieve blown-out highlight detail in high- dynamic-range media by lowering this parameter and achieves a smooth blend between the
retrieved highlights and the unadjusted midtones for a naturalistic result. 1 is unity. The range is 0 (minimum) through +2 (maximum).
— Shadow Rolloff: Lets you selectively lighten or darken shadow detail. Raising this value retrieves shadow detail recorded below 0 percent while leaving the midtones alone. 1 is unity. The range is 0 (minimum) through +2 (very high).
— White Level: A gain setting for adjusting the highlights.
— Black Level: A lift setting for adjusting the shadows.
— Use Video Black Level: A legacy video setting that adds pedestal to the video signal. For people using video equipment dating from when shoulder pads were cool.
Use Camera Metadata
The most elemental camera metadata settings for exposure and color that are available. Deselect the Use Camera Metadata checkboxes to activate the controls.
— Exposure: Increases or lowers image lightness in units relative to ƒ-stops. If your intended exposure adjustment lifts image data above the maximum white level, don’t worry; all image data is preserved and can be retrieved in subsequent adjustments. 0 is unity. The range is –5 to +5.
— Color Temp: Only available when White Balance is set to something other than As Shot. Designed to alter the “warmth” of the image. Adjustable in Kelvin. Lower values correct for “warmer” lighting, while higher values correct for “cool” lighting. +5500 is unity. The range is +2000 to +50,000.
BRAW Files and Blackmagic Design Film
Blackmagic Design’s logarithmically encoded Blackmagic Design Film gamma setting, which produces flat-contrast, wide-gamut image data that preserves image detail with a wide latitude for adjustment, is a modified version of the standard Cineon curve.
However, the modifications are designed to emphasize the strengths of the sensors used by the Blackmagic Design cameras. Similarly to working with clips using Cineon, the ARRI ALEXA’s Log-C gamma, or Sony’s proprietary S-Log or S-Log2 formats, you need
to normalize clips using Blackmagic Design Film by using Resolve Color Management (RCM), by making a manual adjustment to color and contrast, or by applying a LUT, using techniques discussed previously.
BRAW Files and Blackmagic Design Film
Blackmagic Design’s logarithmically encoded Blackmagic Design Film gamma setting, which produces flat-contrast, wide-gamut image data that preserves image detail with a wide latitude for adjustment, is a modified version of the standard Cineon curve.
However, the modifications are designed to emphasize the strengths of the sensors used by the Blackmagic Design cameras. Similarly to working with clips using Cineon, the ARRI ALEXA’s Log-C gamma, or Sony’s proprietary S-Log or S-Log2 formats, you need
to normalize clips using Blackmagic Design Film by using Resolve Color Management (RCM), by making a manual adjustment to color and contrast, or by applying a LUT, using techniques discussed previously.
BRAW Files and Blackmagic Design Film
Blackmagic Design’s logarithmically encoded Blackmagic Design Film gamma setting, which produces flat-contrast, wide-gamut image data that preserves image detail with a wide latitude for adjustment, is a modified version of the standard Cineon curve.
However, the modifications are designed to emphasize the strengths of the sensors used by the Blackmagic Design cameras. Similarly to working with clips using Cineon, the ARRI ALEXA’s Log-C gamma, or Sony’s proprietary S-Log or S-Log2 formats, you need
to normalize clips using Blackmagic Design Film by using Resolve Color Management (RCM), by making a manual adjustment to color and contrast, or by applying a LUT, using techniques discussed previously.
— Tint: Only available when White Balance is set to something other than As Shot. Designed to alter the green to magenta balance of the image, for images with fluorescent tinting. Lower values add green to compensate for magenta lighting, while higher values add magenta to compensate for green lighting. 0 is unity. The range is –150 to +150.