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Giles Cornah
10-16-2020, 03:39 AM
Hello!
So if I shoot a bunch of rushes on the EPIC Dragon 6k and pull them into Resolve, they are displayed in whatever settings you had going in camera, in legacy settings. To colour them using the IPP2 pipeline (which I prefer), I'd then go to RAW settings/clip/IPP2 or Project settings/IPP2.

What I'm looking for is a way to default those clips to display in IPP2 pipeline before that stage, so if I hand rushes to an editor, they default to IPP2. They just look nicer like that and I'm not relying on them to know about RAW settings.

I thought I'd found a way using RED Cine x pro but now I try it out, they still default to legacy when pulled into resolve. Has anyone else had a look at this?

Thanks!

Björn Benckert
10-16-2020, 03:58 AM
Its a setting within resolve in the camera raw setting. Best bet I think to make them have it right is to import the rushes into resolve the correct way / make sure all clips are right in terms of iso, ipp2 or what not. And then export the project and ask them to work from there. As resolve has a default of bringing in r3d´s not in ipp2 as was in camera but a generic setting within resolve.

Giles Cornah
10-16-2020, 04:37 AM
mmm, that's asking quite a lot though and is not really doable in this case. Thanks though:)

Giles Cornah
10-16-2020, 04:39 AM
I thought there was a way of opening all the clips in Red cine x and changing the metadata to IPP2 default.. I could have sworn I've done something like that before but now I can't get it to happen..

Michael Tiemann
10-16-2020, 05:43 AM
Go to Image menu in camera and change parameters to IPP2 with the contrast, rolloff, and colorspace you want. Done.

Giles Cornah
10-16-2020, 05:47 AM
oh! but the Epic dragon 6k doesn't support IPP2 colour science right?

David Rasberry
10-16-2020, 06:04 AM
Should be able to do this with a color managed transform in Resolve as a project setting.

Giles Cornah
10-16-2020, 06:33 AM
Yes there is, but I'm just trying to find a way of offloading rushes (strait off a mini mag) so that when an editor starts working with them they default to IPP2 rather than legacy settings. It works to open each clip in REDcine x and adjust something then close... I might just have to do that.

Björn Benckert
10-16-2020, 06:36 AM
oh! but the Epic dragon 6k doesn't support IPP2 colour science right?

No it does not. So you have to set it in post. But as resovle is setup if the colorist does not know how, then he likely get it wrong and just bring all in old color science and 320 iso 5600k. And no camera settings applied no matter how you fluff your files for him. So yes better get a experienced colorist or write him a tutorial or such how to do it, most colorist I come across does not really do it right and waist a lot of the DP / Dit work by just tossing it on import and then work from the old color science etc.

Mike P.
10-16-2020, 08:07 AM
Epic Dragon doesn't support IPP2 in-camera at capture, but it's raw, so it supports all the benefits of IPP2 in post.

There are two general ways to do it; by either loading up all the r3d files in RCXp and then applying IPP2 to all the clips (which should then carry over into Resolve/FCPX/Adobe/any NLE afterward) or setting up the software to default to using IPP2 when importing r3ds (which is somewhat easier and more "standard").

But don't take my word for it. Here's RED's Dan Duran to help you set up Resolve. (https://youtu.be/a3i3JPU1iLs?t=77) Important to note, after adjusting the project settings, he saves it as the default so all future projects will use the same thing automatically.


So you have to set it in post. But as resovle is setup if the colorist does not know how, then he likely get it wrong and just bring all in old color science and 320 iso 5600k. And no camera settings applied no matter how you fluff your files for him. So yes better get a experienced colorist or write him a tutorial or such how to do it, most colorist I come across does not really do it right and waist a lot of the DP / Dit work by just tossing it on import and then work from the old color science etc.

Ouuf, tell me about it. I can't speak for everyone, but a lot of big post-houses (*cough*Technicolour*cough*) still request budget RED projects to be delivered as RC3/REDlogFilm encoded ProRes 4444 files (Not even RC4 or DC4, but RC3... in 2020). It's not really their fault (they deal with a lot of different cameras and it's an idiosyncrasy specific to REDs) , but it's a bit aggravating given how much they charge. I'd guess they set up their systems/LUTs/workflow to work off those settings back with the R1 and never bother changing... And, I mean, LogC has been the same LogC since the beginning, so they probably figure RED should be the same way.

rand thompson
10-16-2020, 08:17 AM
In REDCINE-X Pro

After you make these changes, Restart Redcine-X so that they take effect when you reopen it

https://i.postimg.cc/DwfvWJTK/Screenshot-85.png


https://i.postimg.cc/SxZycSSY/Screenshot-86.png


https://i.postimg.cc/wB79VCMf/Screenshot-87.png


https://i.postimg.cc/pVJ83SPV/Screenshot-95.png

rand thompson
10-16-2020, 08:28 AM
Or Color Managed in Resolve Like Mike stated above


https://i.postimg.cc/WpWL9WRx/Screenshot-88.png

rand thompson
10-16-2020, 08:41 AM
Or This Combo


https://i.postimg.cc/Qxg5Gysx/Screenshot-92.png

https://i.postimg.cc/zGJhJFXw/Screenshot-93.png

https://i.postimg.cc/021m4qTB/Screenshot-91.png

M Harvey
10-16-2020, 10:47 AM
Thanks for explaining how to pre-set this. I was lucky enough the last time I shot something on Epic Dragon that the colorist was knowledgeable enough to ask first.

rand thompson
10-16-2020, 11:17 AM
You're Welcome Matt!

rand thompson
10-16-2020, 12:50 PM
Apply CDL


In Redcine-X or In-Camera


https://i.postimg.cc/CKY9sNpQ/Screenshot-107.png

https://i.postimg.cc/J4pydffG/Screenshot-106.png

https://i.postimg.cc/pTL7gLTQ/Screenshot-106.png

https://i.postimg.cc/bvTWCtzN/Screenshot-108.png

https://i.postimg.cc/XJqY85R9/cdl-1-1-1.jpg

rand thompson
10-16-2020, 12:53 PM
Apply 3D Lut


In Redcine-X or In-Camera


https://i.postimg.cc/523WGGgV/Screenshot-110.png

https://i.postimg.cc/L69YD90c/Screenshot-98.png

https://i.postimg.cc/tgvQRx8v/Screenshot-109.png

https://i.postimg.cc/VNkPcRZb/Screenshot-111.png

https://i.postimg.cc/YCkwdk1R/3dlut-2-1-1-2.jpg

rand thompson
10-16-2020, 12:56 PM
Apply Metadata Curves


In Redcine-X or In-Camera


https://i.postimg.cc/qv0zyPgV/Screenshot-113.png

https://i.postimg.cc/FFgk0dGb/Screenshot-252-2.png

https://i.postimg.cc/7PQm8R8Q/Screenshot-252.png

https://i.postimg.cc/VLr4YFzs/Screenshot-254.png

https://i.postimg.cc/qMPwgC7s/W001-C005-1014-V3-0000000.jpg

rand thompson
10-19-2020, 12:18 PM
Davinci YRGB with IPP2 Transform LUTs applied at the end of Node Tree


With "DAVINCI YRGB", you transform all of your RED .R3D files into a REDWIDEGAMUTRGB/LOG3G10 image at import. You will still need to add an "IPP2 OUTPUT TRANSFORM LUT" at the end of the Node tree to properly transform the image, It won't be done for you as in the "Davinci Resolve Color Managed" workflow above. However, you will be able to choose what "IPP2 OUTPUT TRANSFORM LUT" you want to use with each individual RED .R3D file instead of being locked into one for the entirity of the project like in the "Davinci Resolve Color Managed" workflow. You don't have to use the exact Nodes I labeled below in your workflow. Just a few, but use the last two nodes "CREATIVE Lut" and "IPP2 Transform"in that order.


https://i.postimg.cc/SNB0r5mL/er-5.png

https://i.postimg.cc/pLzw1Zdw/er-6.png

https://i.postimg.cc/tgzL94WD/Screenshot-137.png

https://i.postimg.cc/25YspZbV/Screenshot-137-2.png

rand thompson
10-19-2020, 05:41 PM
Another Way


In Redcine-X Pro


https://i.postimg.cc/sXgV2J7B/Screenshot-145.png

https://i.postimg.cc/NFyB6fNB/Screenshot-146.png


In Resolve

https://i.postimg.cc/2SY3DhcW/Screenshot-147.png

https://i.postimg.cc/pLzw1Zdw/er-6.png

https://i.postimg.cc/MZ4WWVTT/Screenshot-148.png

https://i.postimg.cc/Qdgskzq9/Screenshot-149.png

https://i.postimg.cc/GtZrqwNY/Screenshot-150.png


When you bring the Red .R3D file into Resolve, It still looks flat like the RWG/LOG3G10 image should look. However, when you place the .R3D image on the timeline, the IPP2 Transform Lut you selected in the "3D Output Lookup Table" Menu takes affect

https://i.postimg.cc/L61mh5YV/Screenshot-151.png

https://i.postimg.cc/0y1PSv71/Screenshot-152.png


OR

Not select an IPP2 Transform Lut in the "3D Output Lookup Table" and use an IPP2 Transform Lut at the end of a Node Tree to transform the image

https://i.postimg.cc/tgzL94WD/Screenshot-137.png

https://i.postimg.cc/25YspZbV/Screenshot-137-2.png

Continued Next Post..........

rand thompson
10-19-2020, 06:05 PM
Continued from Last Post..........



OR


Use the OFX plugin "COLOR SPACE TRANSFORM" to develope the RWG/LOG3G10 Image..


https://i.postimg.cc/nh6xxJcP/Screenshot-153.png

https://i.postimg.cc/JhZL42s4/Screenshot-153-2.png

https://i.postimg.cc/PxMn1vbg/Screenshot-154-2.png

https://i.postimg.cc/26Yfq7Wd/Screenshot-154-3.png

rand thompson
10-19-2020, 09:58 PM
You can create a "PRESET" in Redcine-X Pro that allows you to "BYPASS" the mathematical IPP2 Transform in Redcine-X for multiple R3D files(Change RED.R3D files into a RWG/LOG3G10 image)


In Redcine-X



1)Create two "PRESETS" one to "BYPASS IPP2 OUTPUT TRANSFORM" and one to "UN-BYPASS IPP2 OUTPUT TRANSFORM"


2) Next, Select the location and range of the RED .R3D files you want to affect. In this case, I chose "BIN(ALL CLIPS)"



https://i.postimg.cc/GtxqdNMW/Screenshot-163.png

https://i.postimg.cc/hvvftQMK/Screenshot-166.png



BYPASS



https://i.postimg.cc/7hkKvDN1/Screenshot-165.png

https://i.postimg.cc/43j85p7S/Screenshot-161.png

https://i.postimg.cc/QxNRVkpQ/Screenshot-161-2.png



UN-BYPASS



https://i.postimg.cc/C1Dc6dbL/Screenshot-164.png

https://i.postimg.cc/BZThTLqm/Screenshot-162.png

https://i.postimg.cc/WpwB2fJp/Screenshot-162-3.png

Mike P.
10-20-2020, 08:20 AM
So, just to be clear, using Resolve's built-in IPP2 Tone Mapp/Roll-off in the Camera RAW controls section, is actually out of order, right? That's why you're using the LUT on the last node?

This has been bugging me forever...And kind of infuriating.

Follow-up question; presuming the order is wrong when using Camera RAW and applying a node with a LUT at the end is proper/best, do you know if using the Tone/Roll-off LUT on the entire "timeline" node tree is applied *after* any "clip" nodes?

rand thompson
10-20-2020, 08:50 AM
So, just to be clear, using Resolve's built-in IPP2 Tone Mapp/Roll-off in the Camera RAW controls section, is actually out of order, right? That's why you're using the LUT on the last node?


Mike,


1) first question

Not really out of order, the RWG/LOG 3G10 image has already been transformed into the REC709 color space in the default Resolve Workflow


Here is How The IPP2 Workflow should look


With all grading done in the REDWIDEGAMUTRGB/LOG3G10 color space then transformed with an IPP2 Output Transform Lut to the desired smaller color space

REDWIDEGAMUTRGB/LOG3G10 > GRADING > CREATIVE LUT > IPP2
OUTPUT TRANSFORM(Mathematical or LUT) to REC709


The Default in Resolve


The REDWIDEGAMUTRGB/LOG3G10 Image has already been transformed into the REC709 Color space. Every grading decision you make will be confined to the smaller REC709 color space and not in the larger REDWIDEGAMUTRGB/LOG3G10 color space.



REC709 > GRADING > LUT > REC709

rand thompson
10-20-2020, 09:00 AM
Follow-up question; presuming the order is wrong when using Camera RAW and applying a node with a LUT at the end is proper/best, do you know if using the Tone/Roll-off LUT on the entire "timeline" node tree is applied *after* any "clip" nodes?


I tried that a while back and I was never sure if Resolve applied the lut at the Beginning or the End of the grade, But I was thinking it's at the beginning. Since there was no way to establish the LUT as an OUTPUT TRANSFORM LUT, I am just "assuming" it applies it just an ARRI LOG, CANON LOG conversion Lut. Only Rohit Gupta and Peter Chamberlain, members on this site of Blackmagic Design, could possibly answer that for sure.

rand thompson
10-20-2020, 10:02 AM
Mike,


Also in Resolve the image is processed in a Node Tree from Left(Input) to Right(Output). In Premiere Pro it is layered based, effects are applied from the bottom to the top. In the Layered based workflow applying a lut at the top of the Timeline would make sure it was the last effect that took place.


https://i.postimg.cc/tRB8zzjC/Screenshot-171.png

https://i.postimg.cc/kXDzYtJN/Screenshot-172.png



However in Adobe Premiere, which is "Layer Based" the image is processed from the Bottom to the Top

https://i.postimg.cc/D03QrHwY/Screenshot-167.png

https://i.postimg.cc/g05HJnFp/Screenshot-170.png

https://i.postimg.cc/KzMrgxxM/Screenshot-169.png

Mike P.
10-20-2020, 04:14 PM
Thanks Rand!

It's not *that* big of an issue (using the IPP2>709 on the last node), but it is a point of needless confusion and I'm still not sure where/what the benefit is of using tone/highligh (as compared to having an all-encompassing "LogC" or "RWG/L3G10" to 709/2020/etc conversion LUTs). It's just kinda a 'two steps forward, one step back' way, type of thing... but I digress.

rand thompson
10-20-2020, 05:09 PM
Mike,


I guess its just to Grade and manipulate Colors while they are in the widest capable range possible from the Red Sensor, then with an Ipp2 transform lut, bring that really large range of colors into a much smaller Color Space with a wider range of Hues within the REC709 color space than would have been possible in just the standard REC709/REC2020 workflow.

Difference between RWG/LOG3G10 and REC709

https://i.postimg.cc/QMX0jkXK/Screenshot-138.png
https://i.postimg.cc/28hs6Gf0/Screenshot-140.png

Michael Tiemann
10-20-2020, 06:47 PM
I tried to post a comment earlier, but Server Error 500 reared its ugly head.

rand thompson
10-20-2020, 07:10 PM
Micheal,

That happens to me as well from time to time. What was your comment?

Michael Tiemann
10-21-2020, 02:03 AM
The comment was in reference to http://www.reduser.net/forum/showthread.php?183727-IPP2&p=1913772&viewfull=1#post1913772

rand thompson
10-24-2020, 06:11 PM
Part 1

REDCINE-X CDL to DAVINCI RESOLVE Workflow

CDL is short for ASC CDL

The American Society of Cinematographers Color Decision List(ASC CDL) is a format for the exchange of basic primary color grading information between equipment and software from different manufacturers. The format defines the math for three functions: Slope, Offset and Power. Each function uses a number for the red, green, and blue color channels for a total of nine numbers comprising a single color decision. A tenth number, Saturation, specified in the Version 1.2 release, applies to the R, G, and B color channels in combination.


REDCINE-X


1)Create a look in the "CDL" Palette. The Look below was made from a 4200K and 800 ISO setting.

https://i.postimg.cc/28Y8mCp0/Screenshot-268.png

https://i.postimg.cc/TPmbnY1X/W001-C005-1014-V3-S000-0000000.jpg

https://i.postimg.cc/02C5yhPP/Screenshot-268-2.png


2)Next, "EXPORT" the CDL Grade to your desired location


https://i.postimg.cc/Jz4rDKzJ/Screenshot-269.png

https://i.postimg.cc/CxPFjDR2/Screenshot-270.png

rand thompson
10-24-2020, 06:12 PM
Part 2



DAVINCI RESOLVE

I'll Use a "DAVINCI YRGB COLOR MANAGED" Workflow for this example

https://i.postimg.cc/LskDkVQD/Screenshot-278.png


1) In the "GALLERY" area in the "COLOR" Page, "IMPORT" the "CDL". You'll have to select "CDL FILES" so that it will be visible in the location which you stored it.


https://i.postimg.cc/bwk98TPP/Screenshot-271.png

https://i.postimg.cc/QMvhz3kk/Screenshot-272.png

https://i.postimg.cc/W3PKT3CW/Screenshot-277.png

rand thompson
10-24-2020, 06:13 PM
Part 3


2)Now Apply the "Skin Purple" CDL. You will notice that unlike a LUT which only gives you the Final Image look, The CDL gives you the translated PRIMARIES from REDCINE-X to be further modified if you wished to.


https://i.postimg.cc/ncTZJ7GL/Screenshot-273.png

https://i.postimg.cc/BZT4mR8H/Screenshot-277-org.png

https://i.postimg.cc/yND7nd98/Screenshot-275.png

https://i.postimg.cc/mky4hFx8/Screenshot-276.png

https://i.postimg.cc/0Qy8PcLH/Screenshot-276-2.png

rand thompson
11-21-2020, 09:29 PM
Davinci Resolve 17

Sometimes I like the Tone-Mapping of the new "Davinci" "Input DRT" and "Output DRT" and sometimes I like the Tone-Mapping of IPP2. Now, if I want to "By-Pass" the "Davinci" Tone-Mapping and use the Tone-Mapping of "IPP2" I can do it in the Same Project.


https://i.postimg.cc/8cpTbtfS/Screenshot-578.png

https://i.postimg.cc/nV2FLbNc/Screenshot-579.png

https://i.postimg.cc/NFdBCmRr/Screenshot-580.png

https://i.postimg.cc/15Yyp09k/Screenshot-581.png


Edit:
I forgot to add the "RED" Camera Raw project settings so that these Color Management settings work as they should.

https://i.postimg.cc/SNB0r5mL/er-5.png

https://i.postimg.cc/ZKqTBshP/Screenshot-573.png


I "Bypassed" the "Davinci" Color Management in the first Red .R3D and kept it in the Last Red R3D file


I Bypassed "Davinci" I-DRT and O-DRT with IPP2 High Con/Very Soft Transform Lut in the first Red R3D file.


https://i.postimg.cc/Hkcd3JnV/Screenshot-574.png

https://i.postimg.cc/HLbHDfQm/Screenshot-577.png

https://i.postimg.cc/DZgTmLjY/Red-IPP2-1-1-2.jpg


I used the Project's "Davinci" I-DRT and O-DRT on the second Red .R3D file

https://i.postimg.cc/W1Bjy2qS/Screenshot-576.png

https://i.postimg.cc/cHMsYVHh/Red-Davinci-1-2-1.jpg

rand thompson
12-20-2020, 06:45 PM
Davinci Resolve 17


You can do the Reverse with an "IPP2" Project with the Last Red .R3D file using a "OFX Color Space Transform" to change it to "Davinci" Tone-Mapping.

Edit:
I forgot to add the "RED" Camera Raw project settings so that these Color Management settings work as they should.

https://i.postimg.cc/SNB0r5mL/er-5.png

https://i.postimg.cc/mDXT87Y1/Screenshot-583.png

https://i.postimg.cc/Hkcd3JnV/Screenshot-574.png

https://i.postimg.cc/1tH8Pgpy/Screenshot-584.png

https://i.postimg.cc/TY83SJ8n/2.png

https://i.postimg.cc/HnkVLp2X/Screenshot-585.png

https://i.postimg.cc/zfHQ9KYR/Screenshot-587.png

https://i.postimg.cc/PxrtWSwk/davinci-2-1-2-2.jpg

rand thompson
01-30-2021, 10:48 PM
Here's some additional info about different Red workflows in Davinci Resolve 17 that I added in another thread they may help further.

Resolve 17 new colour management implication for IPP2
http://www.reduser.net/forum/showthread.php?185034-Resolve-17-new-colour-management-implication-for-IPP2

Patrick Tresch
02-01-2021, 01:27 PM
Ouuf, tell me about it. I can't speak for everyone, but a lot of big post-houses (*cough*Technicolour*cough*) still request budget RED projects to be delivered as RC3/REDlogFilm encoded ProRes 4444 files (Not even RC4 or DC4, but RC3... in 2020). It's not really their fault (they deal with a lot of different cameras and it's an idiosyncrasy specific to REDs) , but it's a bit aggravating given how much they charge. I'd guess they set up their systems/LUTs/workflow to work off those settings back with the R1 and never bother changing... And, I mean, LogC has been the same LogC since the beginning, so they probably figure RED should be the same way.

They could work in a ACES workflow? I tried to set it up in Resolve but failed to find the right settings... I wonder if we could add the ACES to rec709/P3/Rec2020 as a node in the timeline with an output colorspace transform?

What solutions do we have when we are working with different cameras in a same timeline ? The workflow shown by Dan Duran is with a timeline set to RWG/Log3G10.

rand thompson
02-01-2021, 02:25 PM
Patrick,

The workflow Dan outlines is for Red media only. The ACEScct and Davinci Wide Gamut workflows are idea for Media from different cameras.


Davinci Wide Gamut Preset

https://i.postimg.cc/ZqbdSgD7/Screenshot-667.png

https://i.postimg.cc/Sxp9ZjLp/DWG-PRESET-1-1-5.jpg




ACEScct SDR


https://i.postimg.cc/YCh0kW6F/Screenshot-668.png

https://i.postimg.cc/x84RJQB1/Screenshot-664.png

https://i.postimg.cc/dQHnSRDc/aces-1-1-4.jpg

Phil Holland
02-01-2021, 04:06 PM
What solutions do we have when we are working with different cameras in a same timeline ? The workflow shown by Dan Duran is with a timeline set to RWG/Log3G10.

Resolve works the way it should IMO by allowing for several different workflow approaches. i.e. you don't need to use RCM, or can, you can work in a color/gamma space of your choice, or not. You can choose how to work with the footage within the project. When it comes to RAW footage you can choose how that is interpolated per project or even on a clip by clip basis. You can transform from there to what Color and Gamma Spaces you need from there. ACES is one workflow that simplifies things. I still profile my own cameras when working with different cameras on one shoot.

I think with Resolve it's one of those knowing which workflow to use and when as well as why. This is a good thing as you have the choice.

There was a time when all of this was significantly more difficult and of course tools far less accessible. I still see a pretty hilarious divide between production and post with some people getting nickeled and dimed occasionally for things that should be common practice in modern workflows, but that's not my department to gripe about that.

rand thompson
02-04-2021, 01:57 PM
ACEScct RED ProRes Workflow-Part 1 Redcine-X Pro


You can use these workflow settings, if you want to, for Red ProRes files in the RWG/LOG3G10 format recorded in camera or if you want to transcode Red Raw .R3D files into RWG/LOG3G10 Red ProRes files.


Redcine-X

Preferences

https://i.postimg.cc/mkj95B40/Screenshot-85.png

https://i.postimg.cc/CLMkfBHY/Screenshot-86.png

https://i.postimg.cc/jq4y5QfZ/Screenshot-87.png

https://i.postimg.cc/8PyWdptv/Screenshot-95.png


Export

https://i.postimg.cc/Hstzq13W/1.png

https://i.postimg.cc/gjHyb3Vt/Screenshot-785.png

rand thompson
02-04-2021, 02:06 PM
ACEScct RED ProRes Workflow-Part 2 Davinci Resolve


Davinci Resolve

Preferences

https://i.postimg.cc/P59wc6Gr/Screenshot-790.png

https://i.postimg.cc/28CFFXYs/Screenshot-786.png


Import and Transformation

https://i.postimg.cc/rsMWjzB1/Screenshot-787.png

https://i.postimg.cc/L8XtGYnv/Screenshot-787-2.png

https://i.postimg.cc/8PwdyBPj/Screenshot-774.png

https://i.postimg.cc/9fsYdmXb/Screenshot-774-2.png

https://i.postimg.cc/nzY9XpXC/Screenshot-789.png

https://i.postimg.cc/ZRhyYCKG/Aces-Red-Prores-not-GM-1-1-2.jpg

rand thompson
02-04-2021, 02:21 PM
ACEScct RED ProRes Workflow-Part 3 Davinci Resolve-Additional Tone and Gamut Mapping


This is what the Red ProRes file in the RWG/LOG3G10 format will look like Transformed with the Included RWG/LOG3G10 IDT.

https://i.postimg.cc/nzY9XpXC/Screenshot-789.png

https://i.postimg.cc/ZRhyYCKG/Aces-Red-Prores-not-GM-1-1-2.jpg

Scopes


https://i.postimg.cc/TP5rYzjD/Screenshot-777.png

https://i.postimg.cc/qvbL7c99/Screenshot-778.png


However, If you want to do some additional Tone and Gamut Mapping with the "Gamut Mapping" OFX tool in Resolve, you can change it to this.

https://i.postimg.cc/bJQk11BY/Screenshot-781.png

https://i.postimg.cc/vTs7K0V6/Screenshot-782.png

https://i.postimg.cc/9f97jGVP/Aces-Red-Pro-Res-1-1-1.jpg

Scopes- Showing improved Tone Mapping and Gamut Mapping over the results of the RWG/LOG3G10 IDT transformation alone

https://i.postimg.cc/2SKQYkWY/Screenshot-779.png

https://i.postimg.cc/g2ksdtBV/Screenshot-780.png